Bonus Material

Jen Silverman saw "I Love You So Much I Could Die" and felt called to write a response. Her essay prompted more responses, which we now present in the form of a modified 3-in-1 that speaks to the power of disrupting form in the American Realism Machine.

For the past few years, people in my life have asked me when I’ll leave the Washington, D.C. area and move to New York City. My artist aunt tells me that’s where she found a community of artists. College friends who grew up in the five boroughs ask me when I’ll “finally” pull the trigger and go. Even my coworkers say they can see me up there soon.

3Views is all about multiplicity. As editors, we’ve long wanted to bring in others to curate the shows we cover, rather than deciding amongst ourselves. We are excited to finally be at a place where we can make this happen. (First, we had to figure out how to fly this ship!) From now until June, and hopefully beyond the summer, you’ll see guest curators bring in writers they’ve chosen to reflect on shows they are curious about. They are in conversation with the reviewers, editing their pieces, and choosing how they are framed.

Dr. Berkley, I am at your door.‍You’ve been gone a long time. I’m awake in the middle of the night. Hear your voice like a call. You taught me to listen to calls.

As a poly-disciplinary artist manager, transition acompañamiente (doula), intimacy coach and ordained oracle, I have seen that the fear of death is a well-documented phenomenon that has shaped or, at minimum, influenced everyone's civic, private, and spiritual life alike. Theatre, like most rituals, is often a deliberate reflection of culture. I consider many of the storylines on American stages as proof positive that decomposition, when feared, turns life into an act of meaningless consumption.

I'm writing to share my deepest gratitude for your recent article in response to the challenges we're facing as a theatre community. I'm grateful for your invitation to adopt new "lenses" that allow us to think about this time in our history as one of new beginnings, new discoveries, and new sunrises.

Divinia: Pearl Cleage’s Something Moving: A Meditation on Maynard is a communal retelling of the moments surrounding Maynard Jackson’s political career in Atlanta, Georgia as the first black mayor in the Deep South. Led by The Witness (Billie Krishawn), a community artist and organizer in Atlanta, nine actors (both in life and the play) volunteered to join this 50th-anniversary story of Maynard Jackson. While the room has a script, it increasingly falls away as these actors become Citizens telling the story of Maynard’s time with Atlanta and the impact it’s left on us now.

3Views is thrilled to continue our partnership with ArtsConnection's Teen Reviewers and Critics Program (TRAC), publishing real reviews written by NYC teenagers. In this mini-issue, we are excited to share two reviews by Angela and Zelda, two alums of the program.

In the summer of 2020—when I was still a danger to myself, when every day I went to a hospital for intensive outpatient care—I was told that writing would help me calm my suicidal thoughts. Art could be healing, even.

As a playwright who focuses on giving space and voice to marginalized communities, one of the most challenging, though intriguing, parts of my job is to also write for characters whom I fundamentally, as a human being, disagree with.

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