Jorge Huerta
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Most Popular Posts
- Re-imagining the City through Performance:… by David O'Donnell 21st March 2024
- Towards New Theatre in Europe: What Roles Can… by Kasia Lech 8th April 2024
- “Habitat” by Doris Uhlich: Performing a… by Marilena Borriello 6th August 2023
- “That Perfect Dark”: Samuel Beckett’s “Company” in Dunedin by David O'Donnell 19th April 2024
- Follies and Murder Ballads and Extinction, Oh My!:… by Rhiannon Ling 28th April 2024
- Drag Queens in Musical Theatre by Lisa Monde 8th May 2023
- Wicked the Musical Celebrates Its 20th Anniversary… by Lisa Monde 9th November 2023
- Musical “Evita”: 45 Years Later by Lisa Monde 22nd February 2024
- Design Writing: Five Views of Sarah Ruhl’s… by Michael Schweikardt, Connor Diaz, Tristan Fabiunke, Jessa Laboissonniere, Bre Lawscha, Benjamin Zingos 24th January 2024
- “Without a State:” a Collision Between… by Tawanda Mupatsi 23rd April 2024
Recent Posts
- How To Recognise Us? The Foreign Women In London: Theatre Review Of “Don’t Get Me Wrong” 5th May 2024
- Retro-futurist Green Theatre: Trick of the Light’s “Suitcase Show” 2nd May 2024
- Follies and Murder Ballads and Extinction, Oh My!: New York City Fringe 2024 28th April 2024
- “Without a State:” a Collision Between Migration and the Perpetual Pursuit of Identity and Belonging 23rd April 2024
- “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