Gabrielle Edelstein

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We’ve Been Editing Shakespeare’s Plays for 400 Years— But Does a New Australian Production of “The Tempest” Idealize the Bard?

Posted by Gabrielle Edelstein | 25th Nov 2022 | Adaptation, Australia, Review, Sydney

Review: The Tempest, directed by Kip Williams, Sydney Theatre Company. The Tempest, first...

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Bell Shakespeare’s “Hamlet” Highlights the “Claustrophobic Personal Dynamics” of Shakespeare’s Play

Posted by Gabrielle Edelstein | 3rd Apr 2022 | Adaptation, Australia, Directing, Review

In a speech to the United Kingdom’s House of Commons on March 9, Ukrainian President Volodymyr...

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“The Museum of Modern Love” Reminds Us to Engage with Art – and Each Other

Posted by Gabrielle Edelstein | 5th Feb 2022 | Australia, Review, Theatre and Art

When was the last time you looked at a stranger in the eyes? Really looked, for an uncomfortably...

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The Queen of Versailles Musical or the Funeral of… by Lisa Monde 29th October 2025
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3sisters at the Novi Sad Theatre by Emilija Kvočka 7th November 2025
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Recent Posts

The Filmed Performance “Woodland Bird Woman” – a Collaboration Between Esther Salamon, Robert Laycock And David Stephenson: Between.Pomiędzy Dispersed Festival 2025 9th November 2025
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Jack Holden’s The Line of Beauty at the Almeida Theatre: A Subtle And Appealing Adaptation Of A Modern Classic 1980s Story 2nd November 2025
FITPTI – International Festival For Young Audiences 2025 – A Northeastern Romanian Story 31st October 2025
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Adaptations On The German Stage (1): “Sein Oder Nicht Sein” In Bremerhaven 29th October 2025
Meghan Tyler’s “Crocodile Fever” at the Arcola Theatre: Northern Ireland Sisters In A Darkly Funny Anti-Patriarchal Feast Of Symbols 27th October 2025
Six-Hour Tour De Force “Hamlet” In Hamburg, Directed, With Many Ironic Self-References, By Veteran Legendary Frank Castorf 27th October 2025
LegalAlien’s “The Flowers of Srebrenica”: Theatre as Healing 27th October 2025

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