Wu Changchang

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On China’s Broadway, IP Is King — For Now

Posted by Wu Changchang | 1st Jul 2023 | China, Essay, Musical Theatre

The pandemic was unusually kind to China’s musical theater scene, but an obsession with...

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How China’s Musicals Lost Their Groove

Posted by Wu Changchang | 15th Nov 2021 | China, Essay, Musical Theatre

Chinese musical theater has largely abandoned high-concept shows in favor of shallow engagement...

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“Sisters” Act: The Hollow Feminism Of China’s Hottest New Show

Posted by Wu Changchang | 23rd Jul 2020 | China, Review, Theatre and Film, Theatre and Gender

For the most talked-about show of the summer, Mango TV’s Sisters Who Make Waves has an unusual...

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Most Popular Posts

Chess The Musical: About Human Nature, Not Politics.… by Lisa Monde 20th May 2026
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Waking Up in the Spotlight with “The Unusual… by Alexander Fatouros 24th March 2026
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Recent Posts

A Celebration Of Bremen Past And Present: “Schnoor-Geschichten Mit Heini Holtenbeen – Bremen In 90 Minuten” At The Packhaustheater Bremen 6th July 2026
“No Man’s Land:” Architecture As Collective Enactment – From Scenography Toward Activated Space 6th July 2026
A Magical “Tempest” In Stratford-Upon-Avon 26th June 2026
Venice Theatre Biennale 2026 – “Memorandum” 26th June 2026
Venice Theatre Biennale 2026 – A Japanese “Othello” 26th June 2026
Performing Between Six Languages: An Interview With Anissa Naji 26th June 2026
“Translators As The Most Attentive And Analytical Readers: Knowing Every Corner, Strength, And Weakness Of A Text” 26th June 2026
Oldenburg’s Production Of “Mephisto” Continues And Expands The Important Debate Of The Artistic Response To Adverse Political Circumstances 25th June 2026
Venice Theatre Biennale 2026 – Mario Banushi’s “Romance Familiare” 24th June 2026
Shell…Shocked? 23rd June 2026

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