“Gardzienice:” Wesele – Wyspiański – Malczewski – Konieczny. Tomasz Wiśniewski in a Conversation with Włodzimierz Staniewski
One of the major figures in Polish experimental theatre, Włodzimierz Staniewski, is the founder of...
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“New Dramaturgies:” Insights Into Mark Bly’s Playwriting Exercises. Interview with Mark Bly
Mark Bly is an American dramaturg, editor, and lecturer. He was the chair of the MFA Playwriting...
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“The Claim” at The Shoreditch Town Hall
Your story. Our story. Their story. Just imagine: you’re a political refugee, and, having...
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“Launcher 5,” or a Recipe to Make Young Men Monsters
Launcher 5’s honest rendition of narrative and characters is its winning card, which drew an...
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Italian Resilience Against COVID-19: The “Strange Interlude” at the Teatro Stabile in Turin
Having opened in May 1955, the Teatro Stabile in Turin is one of the most important artistic...
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Paranoia at the Fore in Steppenwolf’s Revival of Tracy Letts’s “Bug”
Tracy Letts’s Bug may be fourteen years old, but this tale of a couple convinced that they are...
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Simon Stephens’ “Maria:” Aggressive Optimism is Saving the World
“The theatre is a device for empathy – its job is to create better people.” Those are the words of...
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Interviewing Crystal Field, Artistic Director or Theater for the New City
Life cannot exist without art. That is something that is hard to get into people’s heads, because they say ‘I have to eat. I have to pay the rent. I have to be warm in the Winter and cooler in the Summer, if possible.’ They don’t realize that if you took their art away, if their art got taken away, they would die. They only know it, when it gets taken away.
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The Mechanics of Crafting Transitions
For ensemble pieces in theatre, where actors never once leave the stage, what becomes...
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Review of Porte Parole’s “The Assembly – Montreal”
No longer is there a “safe place” on the Canadian political spectrum; to be moderate is to be a...
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All You Need to Know About Eight Years of India by the Nile in Egypt
As the eighth India by the Nile festival approaches, let us celebrate the history of one of the...
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Flawless Live Stream of Award-winning New Zealand Solo Show Celebrates Transgender Tdentity
Princess Boy Wonder, performed by George Fowler (aka Hugo Grrrl), Directed by Lori Leigh, BATS...
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Shakespearean Tragedy Unfolds Wave of Populism on Tehran Stage
A Review on Iranian Adaptation of Coriolanus in Tehran A free adaptation of William Shakespeare’s...
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Ken Watanabe: A Conquistador in “Pizarro”
Ever since his Oscar-nominated Hollywood debut as Lord Katsumoto in 2003’s The Last Samurai, Ken...
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“I Think We Are Alone” at Theatre Royal Stratford East
Once-radical theatre companies are increasingly celebrating anniversaries, as if to say, hey,...
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Lasting Friendships: An Interview with Philip Arnoult
When someone speaks about US and Hungarian theatrical relationships, you cannot miss his name....
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Uganda’s Elvania Namukwaya Who Broke the Glass Ceiling of Theatre
The African theatre scene in the 1960s and the 70s was mainly peopled by men. But there were women...
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undercurrents 2020: “Crippled”– A Necessary Intersect Between Grief and Hope
undercurrents Festival Director Patrick Gauthier and Associate Director Brit Johnston have...
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“Hair:” The American Tribal Love-Rock Musical
Hair the first Rock Musical opened in 1967 for six weeks at the New York Shakespeare Festival...
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“The Arrival” Arrives at Contemporary Questions
Wondering what may draw young people to theatre? It’s a theatre about them, with them and...
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