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The article focuses on the political use of border security as a backdrop by both President Biden and Donald Trump during their separate tours of the border in Texas, highlighting how immigration will play a decisive role in the upcoming election.

The article reflects on the upcoming debate between President Biden and Donald Trump, emphasizing the theatricality of past debates and their implications for the presidency. It contrasts Biden's substantive approach with Trump's disruptive tactics, highlighting Biden's achievements and policy plans versus Trump's divisive rhetoric and controversial record.

The article focuses on the political significance of visits to the U.S.-Mexico border for leaders like Vice President Kamala Harris, President Barack Obama, and former President Donald Trump, highlighting how such visits have become a necessary aspect of political theater.

The article focuses on the unprecedented funeral of Cecilia Gentili, a transgender activist and actress, held at St. Patrick's Cathedral, with over 1,000 mourners, including many transgender individuals, attending the celebration of her life.

The article discusses the challenges faced by House Republicans due to their internal divisions, with a focus on how the rise of Donald Trump and the erosion of the party establishment have made the GOP in the House ungovernable. It highlights the history of tension between conservative purists and the party establishment, leading to conflicts that hinder effective governance.

The article reports on appearance of Mark F. Pomerantz, former prosecutor who led investigation of former U.S. President Donald Trump, before House Judiciary Committee for deposition and declined to answer question concerning prosecution of Trump on charges of business record falsification.

The article reports on the updates in the efforts by the U.S. Congress to regulate technology companies like Instagram, particularly the shift to a more serious effort to improve government oversight of the industry. Also cited are the hearing by the House Financial Services Committee in which lawmakers focused on the safety, security and stability of the markets for digital currencies, and the criticism by nonprofit Center for Digital Democracy's Jeffrey Chester against Congress.

The article looks at the Belarus Free Theater, an unauthorized theater company active in Belarus despite the exile of its founders and artistic directors, Nikolai Khalezin, Natalia Koliada, and Vladimir Scherban. Details on the troupe's performances of the plays "4:48 Psychosis" by Sarah Kane, "The Ugly One" by Marius von Mayenburg, and "The Time of Women" by Khalezin and Koliada, are presented, with a particular focus on their political significance. The company's 10th anniversary is discussed.

The article discusses a planned production of David Hare's play "Skylight," directed by Stephen Daldry and starring Carey Mulligan and Bill Nighy, on Broadway, New York City beginning in March of 2015. Topics addressed include the play's discussion of political themes of privilege and inequality, as well as Mulligan's and Nighy's views on the production.

The article reviews the theater performance of "Havel: The Passion of Thought" directed by Richard Romagnoli starring Danielle Skraastad, at the Atlantic Stage 2 in Manhattan, New York will be held on August 4, 2019.

The article reviews the play "No One is Forgotten," written by Winter Miller and to be presented at Rattlestick Playwrights Theater in New York City.

The article previews several theater productions in New York City including "Burn This," starring Adam Driver and Keri Russell at the Hudson Theater, "Hadestown," directed by Richard Chavkin at the Walter Kerr Theater, and "Hillary and Clinton," directed by Joe Mantello at the Golden Theater.

The article reviews the depiction of politics in theatrical productions, including of the plays "Richard III," written by William Shakespeare, directed by Rupert Goold, starring Vanessa Redgrave, Ralph Fiennes, Tom Canton, at Almeida Theater in London, England, "The Spoils," written by Jesse Eisenberg, directed by Scott Elliott, starring Eisenberg, Alfie Allen and Kunal Nayyar at the Trafalgar Studios in London and "The Plough and the Stars," written by Sean O'Casey at the National Theater in London.

The article reviews the political-themed theatrical productions "Carlyle," directed by Thomas Bradshaw, starring James Earl Jones II and Charlette Speigner, at the Goodman Theater in Chicago, Illinois, and "Hillary and Clinton," directed by Lucas Hnath, starring John Apicella and Cheryl Lynn Bruce, at the Victory Gardens Theater in Chicago.

The article discusses the applause of Broadway theater audiences to the depiction of immigrants and immigration in theatrical productions within the context of immigration in U.S. politics, including in regard to illegal immigration, U.S. Democrats' attitudes on immigrants and the depiction of immigrants in musicals.

The article presents a review of Paul Hodge and Michael Hodge's musical "Clinton the Musical," starring Duke Lafoon and Veronica J. Kuehn, directed and choreographed by Dan Knechtges, and staged at the New World Stages theater in New York City as of April 10, 2015.

The article reports that the play "Come From Away," by Irene Sankoff and David Hein, at the Schoenfeld Theater in Manhattan, New York City, has attracted several Canadians, including Prime Minister Justin Trudeau.

The article focuses on the artist and political activist Paul Chan. In November, 2007 Chan staged a production of "Waiting for Godot," by Beckett, by the Classical Theater of Harlem outdoors in neighborhoods of New Orleans, Louisiana still ruined by Hurricane Katrina. Chan spent the two previous months working with local artists and community groups and teaching in New Orleans public schools as part of the event's attempt to link art to social conditions.

The article examines the theatrical production "Black Watch," a dramatized portrayal of the experiences of British soldiers who served with the regiment of that name in Iraq. The play was written by Gregory Burke. It has been a tremendous success in Scotland, where it debuted in 2006. "Black Watch" will open in the U.S. in Brooklyn, New York City, on October 23, 2007.

The article discusses a revival of the play "Masked," written by Ilan Hatsor in 1990. It depicts three Palestinian brothers in conflict over their response to the Israeli-Palestinian conflict. As a play written by an Israeli, portraying Palestinians and dealing with a controversial political situation, it has generated heated discussions. The revival is directed by Ami Dayan.

LONDON -- Words don't come easily in the opening moments of ''Minsk, 2011: A Reply to Kathy Acker,'' the lacerating new work from the Belarus Free Theater. The latest offering from this astonishing troupe in exile, which recently closed at the Young Vic Theater, begins with individual performers walking up to a microphone. Each pauses, hesitates, starts to unfold a flag, play a flute or merely glance at a wristwatch. Then, before any of them utters a sound, they are dragged out of sight by a troop of stocking-capped men. The scene provides a raw, potent metaphor for the lot of the Belarus Free Theater, which can perform in its own country only surreptitiously. (In place of the usual production credits, the program cast and crew biographies list incidents of arrest, imprisonment and blackballing.) Conceived as a response to ''New York in 1979,'' an erotic anatomy of the city by the novelist Kathy Acker, this production presents Minsk as a place where sex is a thwarted, warping force. Like the Nemiga River that runs beneath the city, erotic impulses have been forced underground. [ABSTRACT FROM AUTHOR]

On my first morning in New York, more than 30 years ago, and for most mornings the next three weeks, I stood in line at the New York State Theater to buy, for $2.50, a standing-room spot at the back of the fourth ring to watch New York City Ballet. At some performances we could move down to empty seats, but we could not have afforded them. The performances seen from the fourth ring -- including George Balanchine's classic ''Four Temperaments'' on my very first night -- were among the most revelatory of my life. And my younger eyes loved the view from that eyrie. This year City Ballet effectively ended its Fourth Ring Society discount ticket program. It is honoring existing memberships, albeit bringing audiences closer to the stage as it tries to consolidate viewers below the rings. The upper tiers are opened for only certain popular repertory, notably the increasingly ubiquitous full-length ''Swan Lake,'' which, in the production by City Ballet's ballet master in chief Peter Martins, opened the season on Tuesday. But the theater, now bearing the name of David H. Koch, is no longer as welcoming to the kind of low-income person I once was, especially with the Balanchine and Jerome Robbins ballets that are City Ballet's greatest assets. [ABSTRACT FROM PUBLISHER]

They grow up so quickly these days. Two weeks after the opening of ''Justin Bieber: Never Say Never,'' a 3-D concert documentary about that 16-year-old, Canada-preferring, floppy-hair-cutting, Grammy-almost-winning pop phenomenon, an extended version of that film will be released into theaters. Paramount's Insurge Pictures division, which released the original film, said a ''director's fan cut'' of ''Never Say Never,'' with 40 minutes of new footage, will be shown in theaters for one week starting Friday. The re-release, which could add significantly to the $51.3 million in tickets that the film had sold in the United States by Monday, is a test of the loyalty of Mr. Bieber's fans, but also, its director said, an experiment to see how quickly a studio can place a film in theaters once its editing is complete. [ABSTRACT FROM PUBLISHER]

HAVANA -- The venue is undistinguished: a cramped theater tucked beneath a downtown apartment block. Tickets cost just five Cuban pesos, or 23 cents. The set, for want of wood, is a beautiful creation of string. Yet in the world of Cuban theater, the production of ''Blind Mouth Singing'' -- written and directed by Cuban-Americans -- is a rare and momentous event. Only a handful of artists from the Cuban diaspora have staged plays here on the island since the United States severed ties with Cuba in 1961. [ABSTRACT FROM PUBLISHER]

Many things have happened since Dan Hoyle performed in the premiere of ''Tings Dey Happen,'' his incendiary and brilliant solo show about Nigerian oil politics, nearly three years ago at the compact theater the Marsh in San Francisco. His career has been on the rise. ''Tings Dey Happen'' won the Will Glickman Award for best new play in the Bay Area and was featured, to critical acclaim, in 2007 at the Culture Project in New York. (Wilborn Hampton in The New York Times called Mr. Hoyle ''a first-rate reporter and actor.'') Last month the State Department invited Mr. Hoyle to return to Nigeria to perform ''Tings Dey Happen'' as part of an official diplomatic tour. Now back in San Francisco, he is reprising his production at the much grander Marines Memorial Theater. [ABSTRACT FROM PUBLISHER]

Ushering in a new generation of Broadway power brokers, Jordan Roth, a 33-year-old producer, finalized a deal on Tuesday to buy a stake in and to lead Jujamcyn Theaters, one of the theater district's biggest landlords. ''I am a different person than we've had in this kind of position in our business,'' said Mr. Roth, who will take the title of president. ''Let's just state the obvious: my age provides for a different perspective, a different way of looking at the world.'' [ABSTRACT FROM PUBLISHER]

During this election season theatergoers in New York can see a dozen or so overtly political plays, about Iraq, Washington corruption, feminism or immigration; what they won't see are any with a conservative perspective. If you think the one-sidedness is a result of the city's generous supply of liberals, then look west of the Alleghenies, where, from Pittsburgh to Des Moines, on down to Austin, Tex., and all the way back up to Ashland, Ore., the absence is just as noticeable. Artistic directors of regional theaters and playwriting programs throughout the country are quick to point out that most American plays avoid politics altogether or cannot be easily categorized. [ABSTRACT FROM PUBLISHER]

It's odd that Lloyd Newson's work has been so little seen in the United States, since he virtually created a new genre of performance when his company, DV8 Physical Theater, burst onto the British dance scene in the mid-1980s. It has been 15 years since the troupe was in the New York area, so it's something of a coup that the innovative Peak Performances series at Montclair State University is presenting Mr. Newson's latest piece, ''To Be Straight With You,'' which opened at the Alexander Kasser Theater on Thursday night. Mr. Newson's productions take up controversial topics -- he has made pieces about a serial killer, about male alienation and about cottaging (men seeking other men for sex in public toilets). His work -- not pure dance, not pure theater, a provocative blend of social issues and personal experience -- has so far eluded easy definition. [ABSTRACT FROM PUBLISHER]

A case could be made that the best show on Broadway this past season was not on Broadway at all, but in Justice Helen E. Freedman's courtroom at the State Supreme Court in Manhattan. The show ran for one morning: the day before Thanksgiving, the 11th day of a 19-day strike by the stagehands' union. The central character was a man named James Sanna, a producer of the perennial Broadway musical ''Dr. Seuss' How the Grinch Stole Christmas! The Musical.'' He had cut a side deal with the union, which agreed to stop striking against the St. James Theater, where ''Grinch'' was playing (the symbolism of the Grinch's stealing Christmas from Whoville, pounced upon by the news media, was too much even for the powerful union). But the Jujamcyn theater chain, which owns the St. James, wanting to keep a unified front, said Mr. Sanna was not allowed to make a deal like that. So Mr. Sanna filed an injunction to keep the theater open. While the theater owners seemed to have some solid legal arguments on their side, the ''Grinch'' producer had a weapon of his own: a courtroom filled with dozens of child actors (above, with Mr. Sanna), little Who girls and Who boys with angelic yet forlorn faces. And a horde of reporters. ''The Grinch'' was playing two days later. [ABSTRACT FROM PUBLISHER]

The article provides information on the new production of Greek tragedian Aeschylus' elegiac play "The Persians," by director Lydia Koniordou which will be performed at City Center in Manhattan, New York. Koniordou says that it was the Iraq war that was the inspiration for producing the play but that the play is not anti-war but rather about unnecessary war and the responsibility of all citizens for the war. The production will be performed in Greek with English supertitles.

The article reports on the postponement of the Off Broadway production of "My Name is Rachel Corrie," due to its political content.

Offers a look at the United States Republican Party convention, to be held in New York City in August 2004. Report that the state delegates are being treated to Broadway musical performances; Types of theatrical productions the delegates will be sent to, such as "The Lion King" and "Wonderful Town"; Shows that will not be involved in the convention because they are too controversial, including "Movin' Out".

Provides information on the impact of politics in the plays by Lev Dodin, the artistic director of the Maly Drama Theater in St. Petersburg. Review of the play `Gaudeamus'; Details of play as part of the Next Wave Festival at the Brooklyn Academy of Music; Views of Dodin on the nature of man.