Samantha Maldonado lives in Philadelphia but is originally from Western Massachusetts. Right now, she does communications and publishing work for the Free Library of Philadelphia. She graduated from Wesleyan University in 2013 with a BA in Sociology and Creative Writing. Her interests include books, feminism(s), social justice, education, cities, visual art, dance, and dogs, among other things. You can follow her on Twitter and read more of her work here.
By this Author
Flashpoint Theatre Company calls it quits
Flashpoint Theatre was founded in 2004 to produce socially provocative and emotionally resonant works of contemporary theater while supporting diverse, emerging artists. Financial support for that mission has dried up, and the company is disbanding.
Old Enough to Know Better at Crane Arts
Old Enough to Know Better is an energizing, maximalist show that includes art of all kinds, all reflecting the stubbornness and resilience essential to female artists pursuing their vocation.
Silvana Cardell's 'Supper, People on the Move'
Empathy for émigrés and exiles
Supper, People on the Move is a thoughtful, important work for not only its serious exploration of the immigrant experience, but also as a powerful example of dance as a mode for social history and political advocacy. With effortless shifts between moods and movement styles, Supper reflects the desperation, precariousness, and turmoil of immigrant life.
Team Sunshine's 'Sincerity Project'
The thin line between sincerity and artifice
The Sincerity Project takes the notion of sincerity as timeless, self-evident, decidedly apolitical, and fully accessible via performance, which makes the show feel a lot like a game of Truth or Dare at a sleepover: Amusing to an extent, if not slightly phony, and occasionally revealing of a juicy tidbit, but overall limited to the provided guidelines.
BalletX's Fall Series
The effort of creating beauty
The dances by Ballet X are not products so much as they are evidence of direct engagement with the process of creative discovery. The pieces are rough around the edges, daring, spirited, and so much fun.
Koresh Dance Company's 'evolution'
An exercise in world-building
Ev.o.lu.tion explores how to communicate frustration, desire, agony, ecstasy, longing, and identity through visceral expression. The performance is emotionally charged, so moody in its aesthetics that it begs to be absorbed and, if not interpreted, then felt.
Alma Sánchez-Eppler’s ‘They Extract!’
Toward a transparent creative process
Playwright Alma Sánchez-Eppler is simultaneously working on both a play and a larger artistic experiment, by sharing the artistic process on social media in real time.
Lisa D’Amour’s ‘Detroit’ by PTC (second review)
Detroit has been criticized for being too shallow — it could have gone into a deeper, less superficial exploration of Real Issues, like class and economic despair. After all, nothing much happens. However, the play’s genius is in its refusal to go there. It keeps us, like its characters, comfortable in what we see, wholly entertained, but not quite satisfied.
Fringe Festival: RealLivePeople's 'Would I Lie to You?'
The lies we tell
Combining choreographed and improvised dance, movements, and spoken words, RealLivePeople present us with the lies we tell ourselves and others in Would I Lie to You?
Jeremy Holmes's 'Convergence' at Drexel University
Illusory kinetic energy
“Convergence” engages the viewer with elements presented in unfamiliar ways: A solid, heavy material like wood seems pliable and floats in the air, and a simple gallery space is transformed into a hands-off playscape.