Is VR the Future Of Live Performance?
What do Coldplay, Stevie Wonder, and the Imagine Dragons all have in common? The answer, and well...
Read MorePosted by Augusto Esteves | 31st Oct 2017 | Transmedia, United States of America
What do Coldplay, Stevie Wonder, and the Imagine Dragons all have in common? The answer, and well...
Read MorePosted by Diwan Singh Bajeli | 31st Oct 2017 | Adaptation, India, Review
Chandradasan’s adaptation of Shakuntalam, staged at the National School of Drama, had a...
Read MorePosted by Aleks Sierz | 31st Oct 2017 | London, Playwriting, Review, United Kingdom
Prolific writer Mike Bartlett is the most impressive penman to have emerged in British theatre in...
Read MorePosted by Evgeny Kazachkov and Sasha Sharova | 31st Oct 2017 | Interview, Playwriting, Russia
On October 6 and 7, 2017, The Lark hosted The Russia/U.S. Playwright Exchange, in partnership with...
Read MorePosted by Jonathan Kalb | 30th Oct 2017 | Acting, Review, United States of America
The most interesting question about David Greenspan’s one-man, 6-hour performance of Eugene...
Read MorePosted by Iain Hollingshead | 30th Oct 2017 | London, Musical Theatre, Review, Theatre and Politics, United Kingdom
Last month, 1,601 people were left disappointed by the news that Hamilton, the American musical...
Read MorePosted by S. Ravi | 30th Oct 2017 | Adaptation, India, Review, Theatre and Politics
Based on a short story of Khwaja Ahmad Abbas, Lokesh Jain’s Kala Sooraj Safed Sayee brings the...
Read MorePosted by Donald Brown | 29th Oct 2017 | Adaptation, Review, Theatre and Age, United States of America
The kitchen of an aging spinster in a small town in Texas may be an unlikely place to find...
Read MorePosted by Aleks Sierz | 29th Oct 2017 | LGBTQ+ Theatre, London, Review, United Kingdom
A new baby is like an alien invasion: it blows your mind and it colonizes your world. For any...
Read MorePosted by Vikram Phukan | 29th Oct 2017 | India, Review, Theatre and Film
CRD, the recently released film directed by Kranti Kanadé, starts right off the bat with auditions...
Read MorePosted by Daily Sabah | 29th Oct 2017 | Lebanon, Review, Syria, Theatre and Politics
A play about Syria’s war, told through one family’s tragedy, made its Lebanon debut on...
Read MorePosted by Oxana Bondarenko and Emiliia Dementsova | 29th Oct 2017 | Essay, Russia, Russian Theatre - Featured
In the last 20 years theatre has kept pace with changes in civil society in Russia. Society has...
Read MorePosted by Tracey Saunders | 29th Oct 2017 | Adaptation, Review, South Africa, Theatre and Politics
We are surrounded by violence and our country is beset by an ongoing cycle with little ebb and...
Read MorePosted by Donald Brown | 28th Oct 2017 | New York, Review, Theatre and Gender, Translation, United States of America
Elfriede Jelinek’s Shadow. Eurydice Says is not much of a drama, if by that is meant a...
Read MorePosted by Christine Deitner | 28th Oct 2017 | Los Angeles, Musical Theatre, Review, United States of America
With the opening of Bright Star at The Ahmanson Theatre at The Music Center in Downtown Los...
Read MorePosted by Kate Lovell | 28th Oct 2017 | Theatre and Disability
My most common access need attending the theatre, after bringing a companion, is to sit at the end...
Read MorePosted by Donald Brown | 27th Oct 2017 | Review, Theatre and Gender, United States of America
The great strength of The Wolves, the debut play by Sarah DeLappe now playing in an extended run...
Read MorePosted by Jessica Hinds-Bond | 27th Oct 2017 | Directing, Interview, Russia, Russian Theatre Abroad, United States of America
An interview with Graham Schmidt, artistic director of Austin’s Breaking String Theater....
Read MorePosted by James Montaño | 26th Oct 2017 | Boston, Review, Theatre and Politics, United States of America
When the dying King Berenger the First petulantly exclaims “Let everything die, if my death won’t...
Read MorePosted by Christine Deitner | 26th Oct 2017 | Adaptation, Los Angeles, Review, United States of America
Trapped in an atmosphere rife with the air of past punishment and with no concrete tasks to take up their time, Alice [Lizzy Kimball] and The Captain [Darrell Larson] play cards, say they will allow themselves one drink then pour three or more over the course of an evening, and argue with an off-stage cook about a dinner that never arrives. They wonder whether they should take on another lover and recall how the last threesome went. If this doesn’t sound like Strindberg to you, you’ve been missing out for not only is the play as sexually explicit as one could get in its time, it is also brutally funny and Ms. Kimball and Mr. Larson know exactly how to use both elements to their most effective ends as they engage in a slowly building battle for supremacy over the other.
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