In the News

Kit tells his story through stylized slam poetry with intensity and honesty. Verbally the crafting of this fifty-minute piece is taut with rich imagery. 
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Anna Deavere Smith is a riveting veteran stage educator. Her latest and equally timely original theater text “Notes from the Field: Doing Time in Education”— seamlessly directed by Leonard Foglia at American Repertory Theatre—not only ranges as before back and forth between participants and observers in a documentary-like piece but also includes an intriguing interactive 25-minute middle section calling on audience members to listen to and teach each other through questions, answers and comments.
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Being born in 1974 versus 1984 made for big differences, as did geography, family, and community.
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In “Notes from the Field,” Smith has created a stunningly nuanced, inventive, and emotionally resonant investigation of how the country values the lives of young people of color.
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Smith transitions gracefully and convincingly between characters, with enough humor mixed in to keep the material from pushing the audience to despondency.
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Simply by staging a show that seeks to provide the most sincere, accurate portrayal of lives rarely documented in art, Trans Scripts throws up interesting questions about how best to respect these stories before they even grace the stage.
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The overall effect of this play is stunning and deeply moving - moving one to tears at an emotional level and moving each individual to want to find a way to make a difference.
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Marshalling her considerable creative forces and once again singlehandedly conjuring a wildly diverse array of characters, Anna Deavere Smith schools us from the front lines of education vs.race in these not yet United States.
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This is an important piece of political theatre, well played and directed that has a great deal to say about the problems caused by unequal education. It is thought provoking, engrossing, and entertaining.
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About midway through the first act of “Notes from the Field: Doing Time in Education” – Anna Deavere Smith’s emotionally stunning, outrage-inspiring but ultimately hopeful one-woman theatrical performance on the devastating societal effects of the school-to-prison pipeline – I found myself wondering how an audience that was not primarily composed of “serious” theatergoers (in Cambridge, no less) would have received the impactful material.
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