It’s Ella Hickson’s Moment (Of Honesty)
How her truth split critics and why she doesn’t really care Ella Hickson stopped worrying...
Read MorePosted by Riley Rudy | 7th Nov 2018 | Interview, London, Playwriting, Theatre and Gender, United Kingdom
How her truth split critics and why she doesn’t really care Ella Hickson stopped worrying...
Read MorePosted by Dimitris Tsatsoulis | 7th Nov 2018 | Greece, Review
Euripides’ Ion – Director: Ioli Andreadi – “Alfa Idea” Theatre – Athens Staging...
Read MorePosted by Robyn Grant-Moran | 7th Nov 2018 | Canada, Interview, Theatre and Opera
Note: Robyn Grant-Moran interviews I Call Myself Princess playwright Jane Lauzon and director...
Read MorePosted by Iris Winston | 7th Nov 2018 | Canada, Review
Cliffhanger by James Yaffe in Ottawa Little Theatre. As the plot of Cliffhanger unfolds gently, it...
Read MorePosted by Michael Appler | 7th Nov 2018 | New York, Review, United States of America
While Eve’s Song hopes to confront systemic issues of violence and race in America, it looks to do so amidst the microscopic setting of the family table — not a microcosm of these problems but an island that seeks to distance itself from them.
Read MorePosted by Erik Ulfsby | 7th Nov 2018 | Directing, News, Norway
For me, as a director, it is important that the artistic idea and concept emerge from the story...
Read MorePosted by Alice Jones | 6th Nov 2018 | London, Musical Theatre, Review, United Kingdom
This is a game-changer. “Radical update” is a phrase that is all too often bandied about in...
Read MorePosted by Jane Baldwin | 6th Nov 2018 | Boston, Review, Theatre and Politics, United Kingdom
David Meyers’ We Will Not Be Silent, now playing at the New Repertory Theatre at the Mosesian...
Read MorePosted by Aleks Sierz | 6th Nov 2018 | London, Review, United Kingdom
In 2017, playwright Nina Raine’s Consent, an excellent National Theatre play about lawyers and...
Read MorePosted by Juno Schwarz | 5th Nov 2018 | Adaptation, London, Review, United Kingdom
First published in 1943 in New York, the story of the little prince and his travels hasn’t lost...
Read MorePosted by Huw Griffiths | 5th Nov 2018 | Adaptation, Australia, Review, Sydney
The fitness of Henrik Ibsen’s plays to address the political questions of our modern lives renews...
Read MorePosted by Andres Hasmo | 5th Nov 2018 | Croatia, News, Norway, Transcultural Collaborations
Kinetics Of Sound takes its starting point in an ordinary theatre exchange programme in which two...
Read MorePosted by Armando Rotondi | 5th Nov 2018 | Italy, News
Naples is a Theatrum Mundi, a place where theatre and theatricality are an integral part of the...
Read MorePosted by Aleks Sierz | 4th Nov 2018 | London, Review, United Kingdom
Two countries; two histories. Being black in the US; being black in the UK. Compare and contrast....
Read MorePosted by Katalin Trencsényi | 4th Nov 2018 | Devised Theatre, Essay, Theatre and Dance, Theatre and Disability, United Kingdom
Artificial Things [i] (directed by Sophie Fiennes) is a re-imagination of a contemporary dance...
Read MorePosted by Amanda Fromell | 4th Nov 2018 | Dramaturgy, Essay, Participatory Theatre, Sweden, Transmedia
In 2011, a woman stood outside an abortion clinic in Manhattan and asked...
Read MorePosted by Haylin Cai | 3rd Nov 2018 | China, Chinese Theatre Abroad, London, Review, Transmedia, United Kingdom
Exploring the common phenomenon of livestream communication in modern society, the performance...
Read MorePosted by Clement Lee | 3rd Nov 2018 | Belgium, Dramaturgy, Hong Kong, Interview, Theatre and Politics
It was a pleasure to sit down and talk to Stefan Bläske, the resident dramaturg of the...
Read MorePosted by Abigail Weil | 2nd Nov 2018 | New York, Review, United States of America
What forces in today’s society will retain their power three hundred years into the future?...
Read MorePosted by Jonathan Kalb | 2nd Nov 2018 | Interview, Musical Theatre, New York, Review, Theatre and Disability, Transcultural Collaborations, United States of America
Jonathan Kalb: So Jonathan, did you like the show? Jonathan Kalb: Can we come back to that,...
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