Alice Winocour’s debut marks a very suitable case for treatment By Doug Strassler We first meet Augustine - a kitchen servant, the title character of director-writer Alice Winocour’s impressive debut feature – in the middle of a major fit while working a very highbrow dinner. It’s a convulsion so severe I expected her character to die. 
Silence proves a powerful device in Johnna Adams’ new play By Doug Strassler Of all the scenes that will emblazon themselves upon the heart, as many in Sans Merci, the deeply affecting new Johnna Adams play that just opened at the Fourth Street Theater, will, the one that lingers the most is a silent one. 
A Q & A with Jake Margolin and Nick Vaughn of A Marriage: 1 (Suburbia) By Doug Strassler Real-life married couple Jake Margolin and Nick Vaughn conceived of A Marriage: 1 (Suburbia), an integrated work of performance art about the trials and tribulations of marriage. The show utilizes the entirety of HERE Arts Center – including 
A Q&A with the company of the new Knife Edge show Actors Don DiPaolo and Neil Holland and director Sam Helfrich, of theater company Knife Edge Productions, reunite after 2011’s successful run of the Stephen Belber show Tape with the new production of Owned. Penned by another major playwright, Drama Desk nominee Julian Sheppard, Owned 
The French film is part social commentary, part unabashed soap opera It’s always nice to see a work of art that values the art of creation – particularly the act of observant writing. Such is the case with In the House, the latest satire-cum-thriller from French auteur François Ozon. Adapting Juan Mayorga’s play, House is 
Daniel Talbott’s ‘Slipping’ is the first LA production for the NYC company The Off-Broadway theatre community isn’t a geographical location as much as a mental one, a notion that Rattlestick Playwrights Theater has embraced wholeheartedly as it expands its base all the way from New York’s West Village to Hollywood. Slipping, the well-received play written 
“J’accuse?” It’s one of the first lines uttered in David Harrower’s layered play, Good With People, currently shining at 59E59 as part of its Brits Off Broadway festival. Those familiar with history will understand this statement’s implications of cruelty, equally apt in the time of writer Emile Zola in nineteenth century France as well as 
