Barbara Gabriel

author

“The Drawer Boy” and Another Way of Telling History

Posted by Barbara Gabriel | 2nd Sep 2022 | Canada, Directing, Festivals, Review

The opening play of the Blyth Theatre Season, Michael Healey’s Canadian classic, The Drawer Boy,...

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Haunted History in Cottage Country: “Cottagers and Indians”

Posted by Barbara Gabriel | 1st Sep 2022 | Canada, Festivals, Review, Theatre and Decolonization

Cottagers and Indians by Drew Hayden Taylor A lazy afternoon on a cedar deck that could be...

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Stratford 2019: “Birds of a Kind”- A Remarkable Dialogue Between the Author and the Director

Posted by Barbara Gabriel | 16th Oct 2019 | Canada, Review, Transcultural Collaborations

“Is it really important to cling to our lost identities? What is a life lived between two...

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Stratford 2019: “Nathan the Wise”- A Parable of Tolerance

Posted by Barbara Gabriel | 16th Sep 2019 | Canada, Festivals, Review

“ I hear, I hear, come finish with thy tale. Is it soon ended?” – Nathan the Wise There are...

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Stratford 2019: Perfect Production Lurching Forward Into Full-Blown Farce

Posted by Barbara Gabriel | 3rd Sep 2019 | Adaptation, Canada, Review

Chicago. 1928. The hard-boiled boozy reporters on the crime beat are sitting around a...

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“The Crucible” at the Stratford: How Puritanism Predicts this Political Moment

Posted by Barbara Gabriel | 2nd Sep 2019 | Canada, Review, Theatre and Politics

Arthur Miller’s classic play about the 17th-century witchcraft trials in colonial Salem,...

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Most Popular Posts

Imagine/: Artificial Intelligence Comes to Theatrical Design by Michael Schweikardt 17th September 2022
Broadway Bodies: An Interview with Ryan Donovan by Trevor Boffone 15th March 2023
The House Where Phantom Lived—Part I: The Majestic… by Lisa Monde 17th February 2023
Art and Tech Imaginings of Kat Mustatea by Alexander Fatouros 10th March 2023
Interview: The “Best Time to Be Alive”… by Melissa Denzer 20th March 2023
Remembering A Silenced Teacher: Xavier Bobés And… by Maria Delgado 8th March 2023
“Al Capone the musical” à la Francaise by Lisa Monde 31st January 2023
“Woman, Life, Freedom: Theatre and Protest in… by The Theatre Times 5th March 2023
Breaking Down Barriers through Cultural Policies: A… by Natalia García-Casarrubios 5th March 2023
Refugees in Berlin (Excerpts From a Sort of Berlin Diary) by Dmitry Troyanovsky 11th November 2022

Recent Posts

“TRACES:” An Interview With Co-Creators James Clements and Sam Hood Adrain of What Will the Neighbors Say? 29th March 2023
With Faith and Trust into the Future: The 10th International Theatre Olympics in Hungary 24th March 2023
The Envy of Baz Luhrmann: A Parkside “Romeo + Juliet” to Remember 23rd March 2023
Interview: The “Best Time to Be Alive” and The Reclamation of Identity 20th March 2023
Touching the Azerbaijani Theatre: From Ritual to Spontaneity 18th March 2023
“Theatre Is King”: The 2023 Kenya Theatre Awards 17th March 2023
Broadway Bodies: An Interview with Ryan Donovan 15th March 2023
You Came to See the Obscene?—”2020: Obscene” 13th March 2023
Bjørg Vik’s “The Journey To Venice” At the Finborough Theatre: Norwegian Memory Play Is Tender If Slight 13th March 2023
Art and Tech Imaginings of Kat Mustatea 10th March 2023

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