Avignon: Symphonies of Pain Part 4 – Caroline Guiela Nguyen’s “Saigon”
In Saigon, Caroline Guiela Nguyen has created a four-hour theatrical tale based on the history of...
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Month: July 2017
Avignon: Symphonies of Pain Part 3 – Satoshi Miyagi’s “Antigone”
Antigone by Sophocles, directed by Satoshi Miyagi; music by Hiroko Tanakawa; scenography by...
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“Pity in History”: The Potomac Theatre Project Wrestles with Howard Barker
Near the end of the Potomac Theatre Project’s production of Pity in History, with England...
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Avignon: Symphonies of Pain Part 2 – Lemi Ponifasio’s “Standing in Time”
Standing in Time. texts by Rasha Abbas. Direction, scenography by Lemi Ponifasio; sound design...
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“Fiddler On The Roof” at The Chichester Festival Theatre
If the choice of a female Doctor Who still has the power to shock and challenge, then we have not...
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Avignon: Symphonies of Pain Part I – Dorothée Munyaneza’s “Unwanted”
My journey through the Festival d’Avignon this year (20171) has just begun, but I have already...
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Part 2: Part Fantasy, Part Declaration of Sovereignty: A Review of the Canadian Opera Company’s Production of “Louis Riel”
Click here to read Part I Riel’s real purpose in the opera is not to stand up for his people as...
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“Fanny and the Admiral:” A Quasi-Metaphorical Scene of the Ideological Fissure in Argentine History and Politics
Fanny and the Admiral, written by Luis Longhi, premiered in 2016 at La Máscara Theatre, Buenos...
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Between Local and Global: Artistic programming and “glocal” challenges (Part 2/2)
Szabolcs Musca in conversation with Mark Deputter, Artistic Director of Teatro Maria Matos, Lisbon...
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“Octavia. Trepanation” – New Opera About Russian Revolution
The world premiere of Octavia. Trepanation was highly anticipated by the Dutch audience at Holland...
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Contemporary Ukrainian Dramaturgy: Challenging Audience, Changing Theatre
During the post-Soviet period, Ukrainian dramaturgy lagged behind prose and poetry and was almost...
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Part 1: Part Fantasy, Part Declaration of Sovereignty: A Review of the Canadian Opera Company’s Production of “Louis Riel”
Taking my seat at the Four Seasons Centre for the Performing Arts, to watch the 2017 debut of the...
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Hypermobility: Calder at the Whitney Museum
What is it about Alexander Calder’s mobiles that make them so ineffably charming? Is it the clever...
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Satoshi Miyagi Makes History on a Stage in France with “Antigone”
The government’s Cool Japan initiative may be focused on spreading anime around the world, but...
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Law Wing-fai’s Atmospheric Music Theatre, “Beyond the Senses,” Staged in London
Readers who are familiar with Hong Kong’s New Wave cinema would not be strangers to Hong Kong...
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Revisited 27 Years Later, “Weed” Plays as an Astute Critique of Neoliberal Economics
Revisited 27 years later, Weed plays as an astute critique of neo-liberal economics.
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How Can Digital Technology (Help) Attract New Audiences?
The Field Survey, Part 3: Opening Up Reaching and attracting new audiences with the help of...
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An Interview With Dima Levytskyi, Post-Dramatic Writer
Theatrical season of 2016-2017 finally brought post-dramatic theater to Ukraine. With a...
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In Conversation With Rithisal Kang About Amrita Performing Arts In Cambodia
ASEF culture360 contributor David Fernández talks with Executive Director Rithisal Kang about the...
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“Instructions For American Servicemen In Britain” Is A Humorous Collection Of Sketches
We’re familiar, perhaps too familiar, with the image of Dad’s Army, gamely tramping down the...
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