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Most Popular Posts
- Re-imagining the City through Performance:… by David O'Donnell 21st March 2024
- “I Killed My Mother/It Wasn’t My Fault.”… by Teodora Medeleanu 25th March 2024
- “Habitat” by Doris Uhlich: Performing a… by Marilena Borriello 6th August 2023
- Stage to Screen: Támara Torres on “Orange Is The New… by Alexander Fatouros 21st March 2024
- Musical “Evita”: 45 Years Later by Lisa Monde 22nd February 2024
- Drag Queens in Musical Theatre by Lisa Monde 8th May 2023
- Design Writing: Five Views of Sarah Ruhl’s… by Michael Schweikardt, Connor Diaz, Tristan Fabiunke, Jessa Laboissonniere, Bre Lawscha, Benjamin Zingos 24th January 2024
- Sweeney Todd: Not a Demon, But a Barber of Fleet Street by Lisa Monde 24th September 2023
- Wicked the Musical Celebrates Its 20th Anniversary… by Lisa Monde 9th November 2023
- “Haywire:” An Unsettling Account On… by Tawanda Mupatsi 22nd March 2024
Recent Posts
- “That Perfect Dark”: Samuel Beckett’s “Company” in Dunedin 19th April 2024
- Anything Can Be Bought If The Price Is Right: Juan Mayorga’s “La Colección” (The Collection) 12th April 2024
- Staging Justice: Miguel del Arco revisits Jordi Casanovas’ “Jauría” and the case of “la manada” (the wolfpack) 9th April 2024
- Towards New Theatre in Europe: What Roles Can Multilingual Dramaturgies Play in Europe’s Future(s)? 8th April 2024
- Milan’s FOG Festival 7th April 2024
- Between The REMBELIO OF POPOLARI (“Omilies”, Carnevals, Anonymous Poets) And No Stable Funding 4th April 2024
- The Silent Service of Women: Cayenne Douglass’s “Maiden Voyage” at The Flea 2nd April 2024
- “Teeth” Bites Back Against Purity Culture: On Michael R. Jackson and Anna K. Jacob’s Musical 31st March 2024
- “I Killed My Mother/It Wasn’t My Fault.” Which Way Does One Get to Come-of-Age? 25th March 2024
- A Triple Bill on Desire and its Discontents: “La Voix Humaine”, “Erwartung” and Something in Between at Madrid’s Teatro Real 25th March 2024