Meiling Cheng
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Most Popular Posts
- Follies and Murder Ballads and Extinction, Oh My!:… by Rhiannon Ling 28th April 2024
- “That Perfect Dark”: Samuel Beckett’s “Company” in Dunedin by David O'Donnell 19th April 2024
- “Habitat” by Doris Uhlich: Performing a… by Marilena Borriello 6th August 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
- Towards New Theatre in Europe: What Roles Can… by Kasia Lech 8th April 2024
- Wicked the Musical Celebrates Its 20th Anniversary… by Lisa Monde 9th November 2023
- “Without a State:” a Collision Between… by Tawanda Mupatsi 23rd April 2024
- Musical “Evita”: 45 Years Later by Lisa Monde 22nd February 2024
- “I Killed My Mother/It Wasn’t My Fault.”… by Teodora Medeleanu 25th March 2024
- Actor on the Verge of a Nervous Breakdown: “El… by Maria Delgado 23rd January 2024
Recent Posts
- “English,” a Gate to Enriching Desired Dreams 15th May 2024
- “Earworm:” Entangled in the Political Landscape 15th May 2024
- Legacy of TiyatroTem on the Independent Theatre Scene of Turkey after 2000s 15th May 2024
- “Bérénice” at Milan’s FOG Festival 14th May 2024
- Igor Vuk Torbica (1987 – 2020) – Balkan “Prince of Theatre” – The third Igor’s Days 13th May 2024
- From Exile to Redemption 12th May 2024
- 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