Passing a Relighted Torch. “Angry, Raucous & Shamelessly Gorgeous”
Hartford Stage in Hartford, Connecticut, has a stable tradition of offering literate plays...
Read MorePosted by Donald Brown | 8th Feb 2022 | Review, Theatre and Gender, United States of America
Hartford Stage in Hartford, Connecticut, has a stable tradition of offering literate plays...
Read MorePosted by Aleks Sierz | 1st Feb 2022 | London, Review, Theatre and Gender, United Kingdom
Bizarre. Breathtaking. Beautiful. I leave the Royal Court theatre with these Bs, as well as others...
Read MorePosted by Aleks Sierz | 16th Jan 2022 | London, Review, Theatre and Gender, United Kingdom
It’s a sign of the times that one of my last trips of the year, to Ella Road’s Fair Play at the...
Read MorePosted by Athira M | 11th Jan 2022 | Applied Theatre, India, News, Theatre and Gender
The drama series is an initiative for She Radio on Radio Malayalam Mission, Government of Kerala...
Read MorePosted by Narelle Yeo | 10th Jan 2022 | Essay, Musical Theatre, Theatre and Gender, United States of America
The most eclectic of music theatre composers was not only a gifted wordsmith and lyricist, but...
Read MorePosted by Natalie Hanna | 7th Jan 2022 | Adaptation, Review, Theatre and Gender, United Kingdom
It could be easy to assume that The Canterbury Tales, a collection of stories written in Middle...
Read MorePosted by Hou Xueqi | 5th Jan 2022 | China, Interview, Theatre and Gender
All the rage in Beijing’s stand-up circuit, Pazilye Parhat says much of comedy stems from...
Read MorePosted by Sindhu Nagaraj | 2nd Jan 2022 | India, Playwriting, Review, Theatre and Gender
The classic play ‘Dance Like a Man’ captures the subtle undertones found in familial...
Read MorePosted by Aleks Sierz | 31st Dec 2021 | London, Review, Theatre and Gender, Theatre and Politics, United Kingdom
A couple of days ago, I watched a live stream of Milk and Gall, an American-based playwright and...
Read MorePosted by Aleks Sierz | 26th Dec 2021 | Review, Theatre and Gender, United Kingdom
After lockdown, the stage monologue saved British theatre. At venue after venue, cash-strapped...
Read MorePosted by Jonathan Kalb | 23rd Dec 2021 | Adaptation, New York, Review, Theatre and Gender, United States of America
As most people reading this will already know, Company was first reworked for a female Bobbie...
Read MorePosted by Aleks Sierz | 6th Dec 2021 | Review, Theatre and Gender, United Kingdom
After lockdown, the stage monologue saved British theatre. At venue after venue, cash-strapped...
Read MorePosted by Aleks Sierz | 16th Nov 2021 | London, Review, Theatre and Gender, United Kingdom
Hypocrisy. Is this the right word? I don’t mean the play, but the audience. Of course, in the...
Read MorePosted by Togtogan Engdongi | 15th Oct 2021 | Belarus, Review, Theatre and Gender
Belarusian theatre hibernated since the notorious events of 2020. The artistic quality of most of...
Read MorePosted by Ahram Online | 11th Oct 2021 | Egypt, Festivals, News, Theatre and Gender
Numerous Egyptian and international theatre plays took part in the inaugural edition of Eazees...
Read MorePosted by Tonderai Chiyindiko | 1st Oct 2021 | Review, South Africa, Theatre and Gender
In a normal country, plays like Text Me When You Arrive, which has just ended a short run at the...
Read MorePosted by Aleks Sierz | 18th Aug 2021 | London, Review, Theatre and Gender, United Kingdom
Before seeing this play, I decided to eat a steak. I thought I needed some extra strength. And it...
Read MorePosted by Aisha Fofana Ibrahim, Helen Shutt and Laura S. Martin | 13th Aug 2021 | Essay, Sierra Leone, Theatre and Gender
It’s been more than two years since Sierra Leone declared a state of emergency over sexual and...
Read MorePosted by Duncan Wheeler | 14th Jun 2021 | Review, Spain, Theatre and Gender
The Spanish capital ranks amongst the European cities with the highest mortality rates for...
Read MorePosted by Aleks Sierz | 18th May 2021 | London, Review, Theatre and Gender, United Kingdom
Uncertainty can sometimes provoke creativity. When the opening of Shereen Roushbaiani’s one-woman...
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