Jenna Lourenco

regional managing editor

jennalourenco1@gmail.com

Jenna Lourenco, MFA, is an autistic, Boston area-based theatremaker, educator, and researcher, who usually focuses her writing on the representation of autism in theatre. Jenna is an actor, singer, costumer/costume designer, director, producer, and dramaturg.

A Stinging Critique of the American Dream Underlies “The Queen of Versailles”

Posted by Jenna Lourenco | 23rd Aug 2024 | Boston, Dramaturgy, Essay, Musical Theatre, United States of America, Worldwide

Spoiler Caution: This essay contains significant plot details from The Queen of Versailles. The...

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Neurodivergent New Play Series Resumes Schedule for 2024

Posted by Jenna Lourenco | 18th Feb 2024 | Essay, New York, Theatre and Disability, United States of America

The Neurodivergent New Play Series, produced by Piccione Arts, is set to resume its regular third...

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Groundbreaking Autistic-Led Production of “A Curious Incident of the Dog in the Night-Time” at A Common Thread Theatre Company in Framingham, MA

Posted by Jenna Lourenco | 21st Oct 2023 | Boston, Interview, Theatre and Disability, United States of America

When Christopher Boone from A Curious Incident of the Dog in the Night-Time was first introduced...

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EPIC Players Creates Employment and Training Opportunities for Autistic & Neurodivergent Theatre Makers

Posted by Jenna Lourenco | 28th May 2022 | Education, Musical Theatre, New York, News, Theatre and Disability, United States of America

Autistic adults in the United States are unemployed at estimated rates of more than 80%. Those who...

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Most Popular Posts

“Catarina and the Beauty of Killing Fascists” at the… by Maria Delgado 15th August 2024
Mozart! The Gem of European Musical Theatre by Lisa Monde 8th October 2024
Musical “Evita”: 45 Years Later by Lisa Monde 22nd February 2024
Director Laura Jones’ Career-Long Exploration… by Paul Shields 26th October 2024
Ché Walker’s Burnt-Up Love at the Finborough… by Aleks Sierz 1st November 2024
“The Maids” by Genet: The Logic of the Paradox by Lisa Monde 2nd January 2024
Wajdi Mouawad’s “Littoral”: Searching for Peace… by Walter Byongsok Chon 22nd July 2024
“Border” And “Sheol/שאול” –… by Klaudia Święcicka (Klaudiusz Święcicki) 10th October 2024
Trauma In Translation: Stratford’s Milestone… by Barbara Gabriel 19th October 2024
It Takes Artistry to Make Theatre for Young… by Kasia Lech 7th September 2024

Recent Posts

Starlight Express The Musical: 40 Years in The Orbit 14th November 2024
Capitalism Meets Austerity in Àlex Rigola’s “Glengarry Glen Ross” 11th November 2024
Chela De Ferrari’s “The Seagull”: Theatre, Identity and Unrequited Love 10th November 2024
Shakespeare In Iraq: An Interview With Dr. Samir Talib 9th November 2024
The Many Monsters of Ars Nova’s “The Beastiary” 7th November 2024
“Kafkaesque!” A Musical That Is As Hilarious As It Is, Well, Kafkaesque 5th November 2024
Ché Walker’s Burnt-Up Love at the Finborough Theatre: Crime and Redemption In A Shining Gem Of A Show 1st November 2024
“Ghosts of My House” In İstanbul: A Contemporary Canadian Play Out Of Context Or Domesticating Whiteness 31st October 2024
“1981” directed by Tomi Janežič at Novi Sad Theatre 30th October 2024
Director Laura Jones’ Career-Long Exploration Of Beckett Concludes With “Godot” 26th October 2024

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