Jozefina Komporaly

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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
A Fight Against… (Una Lucha Contra…): Interview with… by Theo Bosanquet 23rd December 2021
9 New Names in Russian Ballet That You Should Know by Arly Rubens 3rd July 2021
“Cabaret” at the Playhouse Theatre by Mert Dilek 13th December 2021
Ten Ableist Tropes to Jettison in 2021 by Melissa Hillman 28th January 2021
“The Last Trial” Musical: There Once Was… by Tanya Vasylkevych 3rd October 2021

Recent Posts

“Blood Knot,” A 60-Year-Old Message 19th January 2022
“Trouble In Mind,” National Theatre 18th January 2022
“The Red on the Rainbow,” A Brave and Important Play 17th January 2022
About “Fair Play” 16th January 2022
Saitama Gold Theater Players Take Their Final Bow After 15 Years 15th January 2022
“Best of Enemies,” Young Vic 14th January 2022
Kennedy Center Dramaturgy Intensive 2021 Retrospective 13th January 2022
“As Soon As Impossible”: An Arab-American Comedy of Errors 12th January 2022
Nireeksha Women’s Theatre Group Develops Short Stories by Nine Women Writers as Radio Plays 11th January 2022
Here’s to the Ladies who Lunch: One of Sondheim’s Greatest Achievements was Writing Complex Women 10th January 2022

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