Featured Archives - Page 102 of 252

Up Close with Nala-Damayanthi and Duryodhana.

Posted by GS Paul | 25th Nov 2019 | Festivals, India, News

Kathakali buffs were able to familiarise themselves with rarely-presented characters and anecdotes...

Can Dündar’s “#WeAreArrested” at the Arcola Theatre: Committed Political Theatre

Posted by Aleks Sierz | 24th Nov 2019 | Documentary Theatre, London, Review, Turkey, United Kingdom

Truth is the first casualty of war, and often it is journalists who have to pay the price. Killing...

Tue Biering’s “Land Without Dreams” at the Gate Theatre

Posted by Mert Dilek | 24th Nov 2019 | London, Review, Theatre and Art, Translation, United Kingdom

What’s the use of thinking about the future? What’s the use of thinking about the future in a...

Dance Umbrella’s “Out of the System” at Bernie Grant Arts Centre

Posted by Lisa Marie Bowler | 24th Nov 2019 | Dance Umbrella 2019, Festivals, Review, Theatre and Dance, United Kingdom

For the last three years, dance maker and artist Freddie Opoku-Addaie has been a guest programmer...

The Great Tamer – A Greek Choreographer’s Bam Debut

Posted by Antigoni Gaitana | 23rd Nov 2019 | Greece, New York, Review, Theatre and Opera, United States of America

Since Dimitris Papaioannou is a relatively unknown creator to the American audience, I feel...

An Expansive and Permeating Work Embracing Death and Humanity: A Paradox for Our Times: Gregory Maqoma – “Cion: Requiem of Ravel’s Bolero”

Posted by Miranda Laurence | 23rd Nov 2019 | Dance Umbrella 2019, Review, South Africa, Theatre and Dance, United Kingdom

In darkness, a quiet sobbing, acutely intimate in the vastness of the Barbican main stage. Now...

Tadashi Suzuki’s “Cyrano de Bergerac”: East and West Under the Umbrella

Posted by Emiliia Dementsova | 23rd Nov 2019 | Festivals, Japan, Review, Russia, Theatre Olympics 2019

This year is a special one for the Theatre Olympics. For in it’s touring, it is comprised of two...

Together As One: New Zealand’s First Festival of Solo Performance

Posted by David O'Donnell | 22nd Nov 2019 | Festivals, New Zealand, Review

TAHI Fess’s: New Zealand Festival of Solo Performance, Artistic Director: Sally Richards....

“The House of the Spirits” at The Cervantes Theatre

Posted by Aleks Sierz | 22nd Nov 2019 | London, Review, United Kingdom, United States of America

South America’s trauma in the second half of the twentieth century can be summed up by one phrase:...

“Oleanna:” SevenThirty Production’s Excellent Take on Flawed Script

Posted by Maja Stefanovska | 21st Nov 2019 | Canada, Review, Theatre and Gender

David Mamet’s play Oleanna is about the power struggle between a university professor and one of...

“Oleanna’s” Take on Sexual Harassment Holds Up Well

Posted by Patrick Langston | 21st Nov 2019 | Canada, Review, Theatre and Gender

Oleanna, David Mamet’s then-startling play about sexual harassment and power dynamics, debuted in...

“Beyond Bollywood:” An Indian Musical in Istanbul

Posted by Daily Sabah | 20th Nov 2019 | India, Musical Theatre, News, Turkey

The second Bollywood musical hosted by Istanbul’s Zorlu Performing Art Center (PSM), after...

“Welcome to My Underworld:” Collective Creation Compellingly Articulates the Need for Empathy

Posted by Natasha Lomonossoff | 20th Nov 2019 | Canada, Devised Theatre, Review

Dramaturged and directed by native Kingston and award-winning playwright Judith Thompson, the...

Shakespeare’s “The Tempest” Explores Colonialism, Resistance and Liberation

Posted by Paul Yachnin Hannah Korell | 20th Nov 2019 | Canada, Dramaturgy, Essay, Theatre and Decolonization

Last winter, at the Studio Theatre at Ryerson University in downtown Toronto, Canadian actor...

“Happy Days” at Theatre Kingston

Posted by Natasha Lomonossoff | 19th Nov 2019 | Acting, Canada, Review

The works of modern Irish playwright Samuel Beckett, largely absurdist and tragicomic in scope,...

“All Hallows Eve” The Musical

Posted by David Vernon | 19th Nov 2019 | New York, Puppetry, Review, United States of America

Composer Paul Rudolph accompanies the cast through a score that is perfectly in sync with the story line. Delightfully, it is a musical score that reminds it’s listener that this is how Musical Theatre “really works.” Both Haley and Lott keep up the musical pace with Barnhart.