Profe Herrera (aka StinkyLulu) reflects on eight plays in four pairings that together ask what makes a political play, what makes a Pulitzer-worthy play, what makes something performance art and not a play (and vice versa), and what happens when a big new celebrity shows up in your big old play…. Productions discussed in this episode include: the live-streamed Broadway production of Stephen Daly Guirgis’ BETWEEN RIVERSIDE AND CRAZY and Atlanta’s Alliance Theatre’s production of Katori Hall’s HOT WING KING; the long-running Broadway revival of Kander & Ebb’s CHICAGO, currently starring drag artist Jinkx Monsoon, and BAM’s buzzy revisitation of Lorraine Hansberry’s THE SIGN IN SIDNEY BRUSTEIN’s WINDOW, with Oscar Isaac starring as Sidney; TwoRiver Theatre’s production of Mando Alvarado’s LIVING AND BREATHING and Princeton Theater Program’s staging of student Reed Leventis’s immersive and interactive work DISORDER; and Amalia Oliva Rojas’s How to Melt ICE or How the Coyote Fell in Love with the Butterfly who Tried to Be a Lizard — as presented by Boundless Theatre Company in partnership with New Perspectives Theatre at the JuliaDeBurgos Cultural Center in East Harlem —  and Guillermo Calderón’s Kiss by the Wilma Theater in Center City Philadelphia. https://linktr.ee/stinkylulu

Profe Herrera (aka StinkyLulu) continues this experiment in building a theatre-going audio diary with reflections on how each of the seven shows engaged since our last episode confront particular conventions and expectations of theatrical form. Productions discussed in this episode include two remote performances — Woolly Mammoth’s digital film capture of Madeline Sayet’s WHERE WE BELONG and Bard at the Gate’s enhanced reading of Majkin Holmquist’s TENT REVIVAL; two touring presentations of devised productions — THE APPOINTMENT from the Philadelphia-based devised performance company Lightning Rod Special and BETWEEN TWO KNEES from the indigenous comedy ensemble The1491s; two new musicals — Simon Stephens and Mark Eitzel’s CORNELIA STREET and David Lindsay Abaire and Jeanine Tesori’s KIMBERLY AKIMBO; and finally one new/ish play, Hansol Jung’s WOLF PLAY.  https://linktr.ee/stinkylulu

Profe Herrera (aka StinkyLulu) starts a new year of theatregoing with five very different shows. At center of this episode is an extended discussion of the original immersive theatrical staging of THE WAYS OF WHITE FOLKS by Langston Hughes, a co-presentation by two Philadelphia theatre companies: EgoPo and Theatre in the X. With brief comment on recent encounters with the Jeffrey L. Page & Diane Paulus revisal of 1776 on Broadway; Bruce Norris’s DOWNSTATE at NYC’s Playwrights Horizons; ClubbedThumb’s WINTERWORKS festival; and Salty Brine’s BIGMOUTH STRIKES AGAIN at Joe’s Pub in NYC. https://linktr.ee/stinkylulu

Profe Herrera (aka StinkyLulu) reflects on what felt familiar and what felt so very different in what turned out to be a halting return to theatregoing in 2022. With brief comment on recent encounters with Maria Friedman’s production of Stephen Sondheim and George Furth’s musical MERRILY WE ROLL ALONG at New York Theatre Workshop; Lloyd Suh’s THE FAR COUNTRY at NYC’s Atlantic Theatre Company; and Dennis Johnson’s DES MOINES at Theatre for a New Audience. https://linktr.ee/stinkylulu

Profe Herrera (aka StinkyLulu) reads the full text of “Bad Auditions,” their plenary paper presentation at the 2022 annual meeting of the American Society for Theater Research, while also offering a brief comment on the emergence of “glimmerous” as a new keyword in their research and writing practice. https://linktr.ee/stinkylulu

Profe Herrera (aka StinkyLulu) gathers some reflective ruminations on how this week's shows theatrically engage traumas of the recent past (and the immanent future) in unexpected, even existential ways. At center of this episode is an extended discussion of the Broadway production of Adrienne Kennedy’s OHIO STATE MURDERS alongside additional glancing observations about this week’s theatergoing, which includes extended asides on LifeJacket Theatre Company’s workshop presentation of THE GORGEOUS NOTHINGS, Jordan E. Cooper’s AIN’T NO MO’, Will Arbery’s EVANSTON SALT COSTS CLIMBING and DESPARECIDAS by Jaime Lozano, Florencia Cuenca and Georgina Escobar. https://linktr.ee/stinkylulu

Profe Herrera (aka StinkyLulu) reactivates the podcast with some reflective impressions on the question of horror and haunting in theatre, as well as insights and takeaways from the recent production of Noah Diaz’s YOU WILL GET SICK as staged by NYC’s Roundabout Theatre Company. With additional brief commentary on SEX VARIANTS, Asher Muldoon’s MINE and Lauren Keating’s adaptation of A CHRISTMAS CAROL at McCarter. https://linktr.ee/stinkylulu

Profe Herrera (aka StinkyLulu) welcomes artists/scholars Gwendolyn Alker, Anne García-Romero and Nicole Stodard to join in a reflective conversation about their respective impressions, insights and takeaways from the recent production of María Irene Fornés’s FEFU AND HER FRIENDS as staged by San Francisco’s American Conservatory Theatre.

Profe Herrera (aka StinkyLulu) returns the podcast to its roots -- as a space to share unfettered, unfiltered and unedited ruminative "reviews" of contemporary theatre. In this episode, hear what StinkyLulu Says about This American Wife by Fake Friends. 

Profe Herrera (aka StinkyLulu) reflects variously on a loose assortment of topics: the anticipated “return” to face-to-face college come Fall, my first “four-show Saturday” in a long time, the possibly permanent end of the podcast — all as I ponder the question of whether we are at the end of the “remote moment,” the middle of the “remote turn” or the beginning of the “remote era”…  Transcripts for Season4 of StinkyLulu Says are typically available within 24-48 hours of each episode's release. Links to those transcripts are available here.