October 2019 - The Theatre Times

Annie Baker’s “The Antipodes” at the National Theatre

Posted by Mert Dilek | 31st Oct 2019 | London, Review, United Kingdom, United States of America

“Wily, slippery thing.” “Spiky little animal.” “One long nightmare.” These are the phrases that...

“The Eighth Life (for Brilka)”: Dark Chocolate

Posted by Emiliia Dementsova | 31st Oct 2019 | Festivals, Germany, Review, Russia, Theatre Olympics 2019

The Eighth Life (for Brilka) or Das achte Leben (Für Brilka). Adapted by Julia Lochte and Emilia...

Sarah Rutherford’s “The Girl Who Fell” at the Trafalgar Studios: Death, Mourning, Co-Incidence and Healing

Posted by Aleks Sierz | 31st Oct 2019 | London, Review, United Kingdom

Feeling guilty can be a drug. A powerful drug. Okay, it makes you feel bad, but at the same time,...

“XXX Neon Sign” Review: Embodied Performance About Working in a Brisbane Porno Shop

Posted by Melanie Walters | 31st Oct 2019 | Australia, Musical Theatre, Review

Review: XXX Neon Sign, composed by Dan Thorpe, Rumpus Theatre. More than perhaps any other...

A Transgender Theatre Group Focuses on the Lives of Fellow Members Through a Play

Posted by Harikumar J S | 30th Oct 2019 | India, LGBTQ+ Theatre, News

Mazhavil Dhwani which works towards the upliftment of the members of the transgender community in...

Mòshkamo: “Finding Wolastoq Voice”

Posted by Alvina Ruprecht | 30th Oct 2019 | Canada, Review, Transcultural Collaborations

Mòshkamo: Finding Wolastoq Voice reveals the founding cosmogony of the East Coast peoples. This...

Double Bill: “Annunciation” by Angelin Preljocaj and “Siciliana” by Kor’sia Company at Teatro Massimo of Palermo (Italy)

Posted by Ariadne Mikou | 30th Oct 2019 | Italy, Review, Theatre and Dance

The Teatro Massimo Βallet (TMB) company is one of the remaining state-subsidized ballet companies...

Between Activity and Reflection

Posted by Deepa Ganesh | 29th Oct 2019 | India, Review, Theatre and Art

The Art Experience workshop at Ninasam, tried to grapple with that experience which is...

Reflections on “Passageways”

Posted by David Vernon | 29th Oct 2019 | Musical Theatre, New York, Review, United States of America

Has Amy Oestreicher finally gotten that which she dreamed of? As a child, like so many other kids...

“The Shadow Whose Prey the Hunter Becomes”: Who Decides Who We re?

Posted by Bryoni Trezise | 29th Oct 2019 | Australia, Review, Theatre and Disability

In 2009 I wrote an email to the artistic director of Back to Back Theatre, Bruce Gladwin, gushing...

Iasi Theatre Festival for Young Audiences: “153 Seconds,” A Documentary of Contemporary Tragedy

Posted by Aisling Murphy | 28th Oct 2019 | Festivals, Review, Romania, Theatre for Young Audiences

The exposed nerve of a reignited public tragedy hangs in the ether of Teatrul Luceafărul Iaşi. We...

Ravers Under the Microscope: Dance Umbrella Festival Opens with Gisèle Vienne’s “Crowd” at Sadler’s Wells

Posted by Lisa Marie Bowler | 28th Oct 2019 | Dance Umbrella 2019, London, Review, Theatre and Dance, United Kingdom

The opening of the annual Dance Umbrella Festival of international contemporary dance in London...

Interpreting an Abstract Idea

Posted by Ranjani Govind | 28th Oct 2019 | India, Review, Theatre and Dance

Contemporary steps and fusion music will cruise through body-energies with Bharatanatya, Kathak,...

Richard Gadd’s “Baby Reindeer” at The Bush Theatre: An Obsessive Story About Obsession

Posted by Aleks Sierz | 27th Oct 2019 | Documentary Theatre, London, Review, United Kingdom

True stories, even in a fictional form, have the power to grip you by the throat, furiously shake...

“The Greatest Event in a Doll’s Life.” A New Work on Marriage in Contemporary China

Posted by Shiya Lu | 27th Oct 2019 | China, Devised Theatre, Interview, Theatre and Gender

Even in 2019, surrounded by futuristic skyscrapers, accompanied by mobile apps and English...

Eunkyung Jeong Elucidates Enlightenment in Her Autobiographical Installation

Posted by Rathsaran Sireekan | 27th Oct 2019 | Review, South Korea, Theatre and Gender

The Political Self of Beauty South Korean artist Eunkyung Jeong’s interdisciplinary work at...

Alice Birch’s “[BLANK]” at the Donmar Warehouse

Posted by Mert Dilek | 26th Oct 2019 | London, Review, Theatre and Gender, United Kingdom

Believe me when I tell you that there is much more to Alice Birch’s play [BLANK] than meets the...

An Interview with Stan Lai on “The Village,” His Artistic Vision, and Hong Kong

Posted by Michael Ka Chi Cheuk | 26th Oct 2019 | China, Directing, Interview, Taiwan

US-born, Taiwan-raised theatre director and playwright Stan Lai (Lai Sheng-chuan) has enjoyed...

Arinzé Kene’s “Little Baby Jesus” at the Orange Tree Theatre: Lyrical, Energetic and Wise Coming-of-Age Drama

Posted by Aleks Sierz | 26th Oct 2019 | London, Playwriting, Review, Theatre and Age, United Kingdom

Wow. Just wow. The moment you enter the auditorium of this venue it’s immediately obvious that...

Olonkho Show “Dzhyrybyna the Warrior Woman”: Hit the Tambourine

Posted by Emiliia Dementsova | 26th Oct 2019 | Festivals, Review, Russia, Theatre Olympics 2019

The guest performance of the Olonkho Theatre from Yakutia in St. Petersburg as part of the Theatre...

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Month: October 2019

Annie Baker’s “The Antipodes” at the National Theatre

“The Eighth Life (for Brilka)”: Dark Chocolate

Sarah Rutherford’s “The Girl Who Fell” at the Trafalgar Studios: Death, Mourning, Co-Incidence and Healing

“XXX Neon Sign” Review: Embodied Performance About Working in a Brisbane Porno Shop

A Transgender Theatre Group Focuses on the Lives of Fellow Members Through a Play

Mòshkamo: “Finding Wolastoq Voice”

Double Bill: “Annunciation” by Angelin Preljocaj and “Siciliana” by Kor’sia Company at Teatro Massimo of Palermo (Italy)

Between Activity and Reflection

Reflections on “Passageways”

“The Shadow Whose Prey the Hunter Becomes”: Who Decides Who We re?

Iasi Theatre Festival for Young Audiences: “153 Seconds,” A Documentary of Contemporary Tragedy

Ravers Under the Microscope: Dance Umbrella Festival Opens with Gisèle Vienne’s “Crowd” at Sadler’s Wells

Interpreting an Abstract Idea

Richard Gadd’s “Baby Reindeer” at The Bush Theatre: An Obsessive Story About Obsession

“The Greatest Event in a Doll’s Life.” A New Work on Marriage in Contemporary China

Eunkyung Jeong Elucidates Enlightenment in Her Autobiographical Installation

An Interview with Stan Lai on “The Village,” His Artistic Vision, and Hong Kong

Arinzé Kene’s “Little Baby Jesus” at the Orange Tree Theatre: Lyrical, Energetic and Wise Coming-of-Age Drama

Olonkho Show “Dzhyrybyna the Warrior Woman”: Hit the Tambourine

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