Huw Griffiths

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Most Popular Posts

Mikhail Baryshnikov: A Dancer Whose Flight to… by Valeria Paikova 8th February 2021
Online Acting Classes? Here Are the Pros and Cons by Katherine Cappellacci 22nd May 2021
The Music of Words: The Metropolitan Opera’s “Eurydice” by Fareeda Pyracha Ahmed 16th December 2021
Realities Blend Together in Arlekin Players’ “Witness” by Alexander Fatouros 3rd January 2022
How COVID-19 Is Reshaping The Performing Arts by Simon Cartledge 10th April 2021
9 New Names in Russian Ballet That You Should Know by Arly Rubens 3rd July 2021
Ten Ableist Tropes to Jettison in 2021 by Melissa Hillman 28th January 2021
A Fight Against… (Una Lucha Contra…): Interview with… by Theo Bosanquet 23rd December 2021
Kenya’s New Theatre Awards by Alexander Nderitu 22nd September 2021
“Cabaret” at the Playhouse Theatre by Mert Dilek 13th December 2021

Recent Posts

Kosova Theatre Showcase was on Stage for the 4th Time 27th January 2022
Surge Festival, A Reflection of Madrid’s Diverse Alternative Theater 27th January 2022
Teaching Music Online in the Pandemic Has Yielded Creative Surprises, Like Mixing “Blob Opera” and Beatboxing 26th January 2022
Four Times Shakespeare Has Inspired Stories About Robots and AI 25th January 2022
“Fires” This Time 24th January 2022
“Samson” Wins International Award 23rd January 2022
“Cinderella” At the Masque: Review 22nd January 2022
Artist Entrance: Kelly Copper 21st January 2022
Blurring Borders Between Performers and Audience in Kozhikode 20th January 2022
“Blood Knot,” A 60-Year-Old Message 19th January 2022

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