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Chess The Musical: About Human Nature, Not Politics.… by Lisa Monde 20th May 2026
A Theatre Like Society In The Fundamentalist… by Ivanka Apostolova Baskar 23rd May 2026
David Yazbek: The Master of Adapting Films into… by Lisa Monde 2nd April 2026
Theatre – Creating Conditions For What Has… by Ivanka Apostolova Baskar 16th May 2026
The Precipitation Of Performance: Braddy And Burns… by Paul Shields 6th June 2026
Romeo Castellucci “Believing In Masks” At Milan’s… by Margaret Rose 13th March 2026
“Broken Melody” at MITEM: A Music That Finds Its Way Home by Emiliia Dementsova 13th May 2026
From A Basketball Athlete To A Political Dissident by Azadeh Kangarani 22nd May 2026
Waking Up in the Spotlight with “The Unusual… by Alexander Fatouros 24th March 2026
Richard III at MITEM: When the Monster Is Not Alone by Emiliia Dementsova 19th May 2026

Recent Posts

Historical Memory On the Stage: Juan Mayorga’s “El Jardín Quemado” (The Scorched Garden) 11th June 2026
Now In Its 23rd Year, “Komödie Am Altstadtmarkt” In Braunschweig Is Still Going Strong 10th June 2026
The Precipitation Of Performance: Braddy And Burns On Beckett 6th June 2026
“Today, Krleža Would Go Straight For The Throat Of Project-Based Logic” 5th June 2026
Me+Lorca: Juan Diego Botto’s Mesmeric “Una noche sin luna” (A Moonless Night) 3rd June 2026
Corinna Harfouch’s Showpiece Of The Art Of Acting In Haidle’s “Spirit And The Dust” 2nd June 2026
In Pleasant Company: “Girl Dolls” 30th May 2026
“Chroniques” by Peeping Tom at Østre Gasværk Teater Copenhagen 28th May 2026
“Circle Mirror Transformation” 27th May 2026
A Theatre Like Society In The Fundamentalist Capitalism Could Not Survive Without Self-Curated Neomania 23rd May 2026

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