Featured Archives | The Theatre Times

“Gary” Isn’t Queer Enough

Posted by Jonathan Kalb | 26th May 2019 | LGBTQ Theatre, New York, Review, United States of America

The critical responses to Taylor Mac’s debut, Gary: A Sequel to Titus Andronicus, have been...

Ella Hickson’s “Anna” at The National Theatre

Posted by Mert Dilek | 26th May 2019 | London, Review, Theatre and Politics, United Kingdom

Something is tantalizingly amiss at the National’s Dorfman Theatre. There is a headset attached to...

“Happy Days” at the Mark Taper Forum – Sorrow Keeps Breaking In

Posted by Christine Deitner | 25th May 2019 | Los Angeles, Review, United States of America

For the most part, Ms. Wiest seems to place Winnie’s voice at the upper end of the vocal range giving her a light, airy, pitched tone that all but says, ‘I mean no harm’. When the emotion takes the character or the story turns on her unexpectedly, a sudden drop into her lower register is more impactful than a sea of tears could ever be and it makes us feel for this poor character that Beckett has trapped in a mound of what feels like years of disappointment.

Shakespeare and Asia

Posted by Michael Dobson | 25th May 2019 | Asia, Essay, Transcultural Collaborations

When a weary Egeon laments in the first scene of The Comedy of Errors that in quest of his lost...

Herta Müller’s “Niederungen” and The Dramaturgy of The Body

Posted by Jozefina Komporaly | 25th May 2019 | Dramaturgy, Review, Romania

The talented Romanian director Mihaela Panainte adapts Nobel laureate Herta Müller’s visceral...

“The Modern on Stage / The Dream of the House”: An Interview with Jan Pappelbaum, Set Designer at the Schaubühne, Berlin

Posted by Ivanka Apostolova Baskar | 24th May 2019 | Design, Germany, Interview

Jan Pappelbaum is one of the most inventive and internationally renowned set designers, from the...

Interview with Saviana Stănescu: “One could say that I am a 17-year-old American playwright”

Posted by Cristina Modreanu | 24th May 2019 | Interview, Playwriting, Romania, United States of America

A well-known poet and journalist, Saviana Stănescu left Romania for the US thanks to a Fulbright...

Chekhov’s “Three Sisters” at the Almeida Theatre

Posted by Mert Dilek | 24th May 2019 | Adaptation, London, Review, Russian Theatre Abroad, United Kingdom

“I’m bored, bored, bored.” The refrain, occasionally spoken but frequently felt, is at the heart...

Russia Meets Iran: J’afari, Vișniec and Meyerhold, Partners of Ideology, Traversers of History

Posted by Farinaz Kavianifar | 23rd May 2019 | Directing, Iran, Review, Theatre and Politics

Read Farinaz Kavianifar’s interview with Rūhollah J’afari. On the evening of August 3, 2018,...

Self-Censorship Is a Castration of Ideas: A Conversation with Ruhollah J’afari, Dramaturg and Director of the Play Richard III Will Not Take Place

Posted by Reza Ashofteh | 23rd May 2019 | Interview, Iran, Theatre and Politics

Also, about this production, read “Russia Meets Iran: J’afari, Vișniec, and Meyerhold,...

Interview With Sasha Marianna Salzmann: The Playwright

Posted by Romy König | 22nd May 2019 | Germany, Interview, Playwriting

When asked about her background, she tends to respond, “I come from the theatre:” playwright and...

Riddled With Vivid Snapshots of The Human Condition: “Waiting for Godot” in New Zealand

Posted by John Smythe | 22nd May 2019 | Ireland, New Zealand, Review

Vladimir and Estragon, who nickname each other Didi and Gogo, languish nowhere in particular and...

Krishna, The Emissary of Peace

Posted by A Sangameswaran | 22nd May 2019 | Acting, Essay, India, Theatre and Religion

Thespian Ammannur Kuttan Chakyar gave a scholastic presentation of Melpathur Narayana...

Raamji Aayenge: When Beckett Met Valmiki

Posted by Vikram Phukan | 22nd May 2019 | Acting, Immersive Theatre, India, Review

Playing at the ongoing Damu Kenkre Smriti Mahotsav tonight is a fairly new production directed by...

“Between Breath” Is A Tender Play About Grief, Tragedy And The Impact Of A Life Well-Lived

Posted by Ryan Pepper | 21st May 2019 | Canada, Review

The NAC’s Between Breaths from St. John’s Artistic Fraud of Newfoundland theatre captures the life...

The Immigrant Dragons, Part IV: Generations United in Bendigo

Posted by Billy Potts | 21st May 2019 | Australia, China, Chinese Theatre Abroad, Essay, Transcultural Collaborations

Back home in Australia, the world’s largest imperial dragon joins his predecessors – and so...

Jayachandran Palazhy on Contemporary Art Forms

Posted by Gowri S | 21st May 2019 | India, Interview, Transcultural Collaborations

International movement artist Jayachandran Palazhy feels that despite their so-called abstract...

“Lo (Or Der Mr. Wells)”: Rose Napoli And David Mamet Clash In This Fine Production Dealing With Troubling Ethical Questions..

Posted by Alvina Ruprecht | 21st May 2019 | Canada, Review

A two-hander by Rose Napoli that has been given a fine production at the GCTC thanks to director...

“The Last Day of the Sun” at In Scena

Posted by Marcina Zaccaria | 20th May 2019 | Festivals, Italy, New York, News

Brave Actress Chiara Buratti has a perfect command of the text, performed completely in Italian. Sometimes in a green camouflage shirt, she finds herself, like a modern dancer, rooted into the floor, pacing through the space, finding gesture after gesture. At times, the piece has a precision that is alarming. Like a serpent striking at exactly the right prey, the words sting. Discussions of revenge, intermixed with revelations about one’s first love or finding the feminine, are delivered in a freshly recalled sequence of events, with a quick-witted revelation.