A Journey for Lost Truth: Won Muintel
May 5th, 2017. I am at the Algwahaek Theatre in Daehangno to see a show. But who am I, this person...
Read MorePosted by Lee Sang Woo | 26th Oct 2017 | Festivals, South Korea
May 5th, 2017. I am at the Algwahaek Theatre in Daehangno to see a show. But who am I, this person...
Read MorePosted by Duška Radosavljević | 25th Oct 2017 | London, Review, Theatre and Gender, United Kingdom
Over the last ten years, a new form has evolved on the British stage, rather simply referred to as...
Read MorePosted by Trevor Boffone | 25th Oct 2017 | Review, Theatre and Gender, United States of America
The Astrodome has always stirred up a sense of nostalgia in me. Growing up in New Orleans, we...
Read MorePosted by Nick Rongjun Yu | 25th Oct 2017 | China, Essay, Festivals, Transcultural Collaborations, United Kingdom
In August, the stage play, The Dreamer was performed for enthusiastic audiences at the Pleasance...
Read MorePosted by Aleks Sierz | 25th Oct 2017 | London, Playwriting, Review, Theatre and Gender, United Kingdom
What does it mean to feel contemporary? Feel. Contemporary. Really feel. According to...
Read MorePosted by Duška Radosavljević | 24th Oct 2017 | Adaptation, London, Review, United Kingdom
How do you bring a 10th-century Old English epic closer to a 21st-century audience? And, more...
Read MorePosted by Len Collin | 24th Oct 2017 | Musical Theatre, Review, United Kingdom
Katie Hopkins, the controversial British media commentator, has become the subject of a new stage...
Read MorePosted by Nobuko Tanaka | 24th Oct 2017 | Directing, Japan, Review
The route that has brought Richard Twyman to Tokyo to direct an all-Japanese cast in a play based...
Read MorePosted by Aleks Sierz | 24th Oct 2017 | London, Playwriting, Review, United Kingdom
Playwright Simon Stephens and director Marianne Elliott are hyped as a winning partnership. Their...
Read MorePosted by Charlie Swinbourne | 24th Oct 2017 | Scotland, Theatre and Disability
A couple of weeks ago, I moderated an inclusion panel at the Edinburgh Film Festival where I...
Read MorePosted by Sarah Balkin | 23rd Oct 2017 | Australia, Musical Theatre, New York, Review, United States of America
Taylor Mac described The Inauguration, which helped launch the 2017 Melbourne Festival, as “a...
Read MorePosted by The Theatre Times | 23rd Oct 2017 | Germany, Syria, Theatre and Dance
A group of Syrian dancers is going on tour across Germany with a show that tells of the plight...
Read MorePosted by Sandra D'urso | 23rd Oct 2017 | Australia, Review, Theatre and Gender
Despite its forays into dark subject matter, Caravan, staged as part of the Melbourne Festival, is...
Read MorePosted by The Theatre Times | 23rd Oct 2017 | London, News, United Kingdom
“You’re told you can’t do this. I’ve tried to go: yes we can.” The new artistic director of...
Read MorePosted by Kasia Lech | 22nd Oct 2017 | Directing, Essay, Poland
This series introduces Polish directors whose work is recognized in Poland, but they are...
Read MorePosted by Farhang Farbod | 22nd Oct 2017 | Festivals, Iran, Review
The 18th Traditional and Ritual Theatre Festival was held September 1–6 in Tehran. The festival...
Read MorePosted by Heather Waters | 21st Oct 2017 | New York, Puppetry, Review, Theatre and Art, United States of America
Ping Chong + Company’s show ALAXSXA | ALASKA subverts an overused Western storyline of people as...
Read MorePosted by Cheng-Han Wu | 21st Oct 2017 | Belgium, China, Festivals, Review, Theatre and Opera, Transcultural Collaborations
Belgium’s new opera company Muziektheater Transparant is invited by the 2017 Beijing Music...
Read MorePosted by Christopher Harris | 21st Oct 2017 | Dramaturgy, Netherlands, Transcultural Collaborations, Translation
Amsterdam’s Stedelijk Museum asserted itself as the watering hole for a universal collective of people congregating on the subject of cultural translation within a dramaturgical framework, which alone begins as a intriguing idea, given that the collective arrived out of the rain from many corners of the globe.
Read MorePosted by Katrina Holden-Buckley | 20th Oct 2017 | Boston, Review, Theatre and Opera, United States of America
Riding the line between political thriller and melodrama, Joseph Kerman described Puccini’s Tosca...
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