Andreea Scridon

editor

a.scridon@thetheatretimes.com

Andreea Scridon is a writer. She writes reviews of books and of cultural events, and translates from Romanian into English and vice-versa. She studied Comparative Literature at King’s College London and is now studying in Creative Writing at St. Anne's College, University of Oxford. She follow the translation of theatrical plays, particularly from Spanish, French, and Romanian. Andreea’s research interests are centered around the international promotion of Romanian literature.

Marin Sorescu’s “Jonah”:–”Great, Imaginative Literature Matched With Great Theatrical Effort”

Posted by Andreea Scridon | 21st May 2017 | Review, Romania, Theatre and Politics

Marin Sorescu’s Jonah was originally published in 1968 and is considered the playwright’s...

Read More

Theatre Review: “The Little Prince” An Inventive Russian Take On Saint-Exupéry’s Modern Classic

Posted by Andreea Scridon | 22nd Mar 2017 | Adaptation, Review, Russia, Russian Theatre Abroad

The Little Prince–the classic novella by Antoine de Saint-Exupéry–is about a pilot stranded in the...

Read More

Theatre Review: Chekhov’s “The Seagull” (Hemar Theatre) At Ognisko Polskie

Posted by Andreea Scridon | 12th Feb 2017 | Playwriting, Review, Russia, Russian Theatre Abroad

Ognisko Polskie, the Polish Hearth Club, is an exquisite venue: glistening chandeliers please the...

Read More

Theatre Review: Chekhov’s “Three Sisters” At The Union Theatre

Posted by Andreea Scridon | 6th Feb 2017 | London, Review, Russia, Russian Theatre Abroad, Transcultural Collaborations, Translation, United Kingdom, United States of America

Simplified Production Deserves The Benefit Of The Doubt. Tracy Letts’ adaptation of Chekhov’s 1900...

Read More

Like Us On Facebook

Facebook Pagelike Widget

Advertisement

Advertisement

Most Popular Posts

Imagine/: Artificial Intelligence Comes to Theatrical Design by Michael Schweikardt 17th September 2022
Bombastic Intimacies: Sophie McIntosh’s “cityscrape” by Rhiannon Ling 30th May 2023
The House Where Phantom Lived—Part I: The Majestic… by Lisa Monde 17th February 2023
Drag Queens in Musical Theatre by Lisa Monde 8th May 2023
“Geometry of the Soul”, “Frozen Songs” and “Clowns’… by Emilija Kvočka 31st May 2023
“Al Capone the musical” à la Francaise by Lisa Monde 31st January 2023
The Brazilian Experience with Different Forms of… by Rodolfo García Vázquez 6th February 2023
“The Arabian Nights” in Taiwan: Deserted… by Kuan-Ting Lin 12th May 2023
Robert Patrick, Playwright, Has Passed Away by Magie Dominic 19th May 2023
Theater, A Major Job Sector by Heather Waters 2nd April 2023

Recent Posts

An Interview with Alexey Strelnicov 7th June 2023
Danny Robins’s 2:22 A Ghost Story At The Apollo Theatre: Populist Shocker Is Pretty Chill Free 6th June 2023
Léonora Miano On “What Must be Said” 5th June 2023
“KPOP” On Broadway: A Multisensory Feast of HEUNG 4th June 2023
“Geometry of the Soul”, “Frozen Songs” and “Clowns’ Houses” at Novi Sad Theatre Festival 31st May 2023
Bombastic Intimacies: Sophie McIntosh’s “cityscrape” 30th May 2023
Robert Patrick, Playwright, Has Passed Away 19th May 2023
“The Arabian Nights” in Taiwan: Deserted in the Oriental Dream 12th May 2023
Drag Queens in Musical Theatre 8th May 2023
“Drive Your Plow Over The Bones Of The Dead” at the Barbican Theatre 3rd May 2023

SEARCH OUR ARCHIVES

Pin It on Pinterest