“The Cherry Orchard,” Portland Experimental Theatre Ensemble
What might Anton Chekov, that Russian master of the nineteenth century, have to say about the...
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Parastoo Theatre: Art, Refuge, Action
The pioneering theatre company, founded and run by Afghan theatre maker and refugee, Saleh Sepas,...
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Leveling Effects: Matthew Spangler’s Adaptation of “The Kite Runner”
Khaled Hosseini’s 2003 novel The Kite Runner is a vividly descriptive and often gripping tale of...
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Sacrament of the Sea: Houseworld’s “Bottom of the Ocean”
Whispering the word BOTO into the speakeasy-style window of a door, I felt a sense of trepidation,...
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Ivo Van Hove’s Water-turgy: “Ingolstadt” at the Salzburg Festival
Just over a hundred years since its founding (by impresario and theatre director Max Reinhardt),...
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Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part I
I arrived at the 2022 Avignon Theatre Festival seeking emotional rejuvenation after two years of...
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“The Hour of Death,” Bokshi Theatre Company
Pristina Prison, a notorious building in the centre of the city, was built during the Yugoslav era...
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About “Dog/Actor” at the Etcetera Theatre
Yesterday evening I went to see Dog/Actor at the Etcetera Theatre in Camden. Written by Steven...
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“The Years of Crows” at National Theatre, Belgrade
National Theatre, Belgrade, premiere 12th March 2022 The Years of Crows is the great comeback for...
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”Seven Women in Search of Mia” or ”Breast Cancer Trilogy” (A Postproduction Reflection)
In 2011, I published my first medical humanities book, Transacting Sites of the Liminal Bodily...
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A Director Needs “to Practice What They Preach”: An Interview with Milosh Andonovski, Theatre Director and Educator
Milosh Andonovski (1989) was born in Kumanovo, North Macedonia. He graduated Comparative...
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“Murat IV” Opera to tell Ottoman Sultan’s Story in Istanbul
Turkish opera’s great master, composer, and conductor Okan Demiriş’s ‘Murat...
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With “The Tenant of Wildfell Hall” at The Sydney Theatre Company Gives Us a Brontë Adaptation for Our Moment
Review: The Tenant of Wildfell Hall, directed by Jessica Arthur for the Sydney Theatre Company...
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Girish Karnad Speaks to Arshia Sattar and Anmol Tickoo just a Few Days Before His Death
Karnad spoke about his life as a writer and cultural administrator, his accidental foray into...
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The Musical “Notre Dame de Paris” Returns to the United States
At the turn of the century, in 1998, Luc Plamondon created one of the greatest musicals Notre Dame...
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An Interview with Prof. Ana Stojanoska—Theater Scholar, Writer, and Poet
Ana Stojanoska (1977, Prilep) is theatrologist, writer, and full professor at the Faculty of...
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In Finucane & Smith’s “Future. Joy. Club.” the Joy is Much More Than the Sum of Its Parts
Review: Future. Joy. Club., Finucane & Smith The theatre of the occasion starts with a...
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“The Fellowship,” Hampstead Theatre
I live in Brixton, south London. A few days ago, the borough’s aptly named Windrush Square hosted...
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The Death of Madam Dupin: Is the Balkan the Sub-Saharan Africa of Europe?
An Interview with Katarina Saric – poet, writer, performer, activist-feminist (Montenegro)...
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“The Aliens Make Thanksgiving Dinner:” An Interview With Co-Creators James Clements, Derya Celikkol, and Maamoun Tebbo
“The Aliens Make Thanksgiving Dinner” is a new devised play, co-written, co-directed...
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A Director Needs “to Practice What They… 31st July 2022 - Ivo Van Hove’s Water-turgy: “Ingolstadt”… 8th August 2022
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