An Interview With Playwright Alexis Roblan
Alexis Roblan graduated from the University of Southern California’s MFA in Dramatic Writing...
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Featured
“The Drowning Girls”: A Story Of Misogyny And Murder
There’s not much on the stage. Three bathtubs, a metal dress form and shower head hanging above...
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A Tragedy With A Happy Ending: “The Emperor And The Concubine” By The China National Peking Opera Company At London’s Sadler’s Wells
The long-term collaboration between the China National Peking Opera Company (Guojia jingju yuan)...
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Going To War And Making Revolution At The Bâtard Festival
Cezary Goes To War by Cezary Tomaszewksi and Tell Me About The Revolution by Farbod Fathinejadfard...
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Kampala International Theatre Festival, 2018 Edition
The venue is the Uganda Museum and performances from Kenya, India, Iran, UK, USA and the host nation will be staged. Below are teasers of some of the scheduled performances.
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Nick Stafford’s “War Horse” At The National Theatre
In the days after the widespread commemorations of the 100th anniversary of the end of the first...
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Wit’s End: Will Eno’s “Thom Pain”
“So, a horse walks into a bar. The bartender says, ‘Why the long face?’ And the horse says, ‘I’m...
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“The Prom” Is a Celebratory Trumpian Footloose When We Need It Most
Maybe “The Prom’s” greatest success, in all of its glitter and be gay, is a validation that splashy, garish musical comedies, themselves no champion of political correctness, can still be made from scratch. “The Prom,” exceptionally original yet cradled by tradition, is proof that bursting into jazz hands when someone puts you down is still a worthy prescription for joy.
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Ecce Homo: “The Great Tamer,” By Dimitris Papaioannou. Dance Umbrella Festival 2018, London, Sadler’s Wells
A curved, declivitous, dark-grey hill, built from large, rectangular vinyl blocks–reminiscent of...
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“A Pupil” At Park Theatre
How do you judge artistic excellence? Is there such a thing as an objectively brilliant musician,...
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Zadie Smith’s “White Teeth” at The Kiln Theatre
You can see why artistic director Indhu Rubasingham chose to stage this version of Zadie Smith’s...
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Words On The Street: The 36th Edition Of The International Street Theatre Festival In Jelenia Góra
One of the most vivid memories of my childhood is sitting on the ground in a parking lot of my...
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Peking Opera At The British Library: The Triumph Of Xieyi
As part of the China Focus Events Series, the British Library, in collaboration with Sinolink...
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Off The Stage And Into Your Home
“The Stage in the Drawing-Room” is the title of a 19th-century instruction manual by Henry Dakin...
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The Druid “Godot”
To those who feel overexposed to Waiting For Godot—which includes many theater snobs—no...
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Luke Barnes’s “All We Ever Wanted Was Everything” At The Bush Theatre
Sometimes, just sometimes, I see a show which makes me wish that all theatre could be like this. A...
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Dead Centre’s “Chekhov’s First Play”
Also known as Platonov or the Play Without A Title, Chekhov’s first playtext, written when he was...
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The Re-Invention Of Subtitling. A New Technical Approach To The International Market
“Pour bien faire, il faudrait un film qui tournerait la traduction intégrale (de la pièce) à la...
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Telling A Thai Tale: A Dance Dramaturg’s Take
“When I collaborate, I want to collaborate with the wrong person.” Pichet Klunchun, Thai dancer,...
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“While I Was Waiting” Captures The Tragedy Of The Syrian Civil War In Damascus
Review: While I Was Waiting, OzAsia Festival. Unrest breaks out in a proud and ancient city, its...
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