“The Phantom Of The Opera” Returns To Mexico: A Reinvented Masterpiece
Mexico City becomes once again the stage for a major musical-theater event. After more than a year...
Read MorePosted by Lorena Meeser | 12th Dec 2025 | Mexico, Musical Theatre, Review
Mexico City becomes once again the stage for a major musical-theater event. After more than a year...
Read MorePosted by Daniel Meyer-Dinkgräfe | 12th Dec 2025 | Directing, Germany, Review
When the production first opened in 2022, critics commented on the fact that the play was being...
Read MorePosted by Margaret Rose | 10th Dec 2025 | Italy, Review, Theatre and Gender
In late November, Emma Dante brought her latest show, L’Angelo del focolare (The Angel of the...
Read MorePosted by Vassili Schedrin | 7th Dec 2025 | Adaptation, Review, United States of America
Dostoevsky is hard to read, harder to translate, and even harder to adapt for stage. The Mutt by...
Read MorePosted by S.E. Gontarski | 4th Dec 2025 | Directing, Essay, Transmedia
Wherever it comes from, morality or the aesthetic, the anti-theatrical prejudice is a conceptual...
Read MorePosted by Daniel Meyer-Dinkgräfe | 4th Dec 2025 | Directing, Germany, Review, Theatre and Politics
Theater Bremen is currently showing the world premiere production of Der Zauberer von Öz – Eine...
Read MorePosted by Verity Healey | 2nd Dec 2025 | Acting, Review, Theatre and Politics, United Kingdom
Representation in the performing arts in the UK is in crisis. For years, voices have been warning...
Read MorePosted by Xunnan Li and Yuan Du | 2nd Dec 2025 | China, Festivals, News
The Dangdai Xiao Juchang Xiqu Jie (Contemporary Black Box Xiqu Festival), operated at Star Theatres, has been a significant engine for contemporary experimentation of Xiqu (Chinese traditional theatre) since its establishment in 2014. Now entering its 12th year in 2025, the festival has supported more than 200 experimental Xiqu projects, drawing millions of audience members from across China. It remains one of the earliest and most influential cultural clusters where emerging Xiqu artists can articulate their creative voices in a flexible, low-cost, and artist-centred environment. Reading the slogan “He He” (和合harmony and collaboration) of this year’s festival and speaking with its founder and CEO, Mr. Fan Xing, I argue that this longstanding initiative has grown into a hybrid cultural space and the meaning of “He He” performatively means a harmonious collaboration between the futurist experimentation and the deep-rooted nostalgia.
Read MorePosted by Daniel Meyer-Dinkgräfe | 28th Nov 2025 | Adaptation, Directing, Germany, Review
Der Schimmelreiter (The Rider on the White Horse) is a novella by German writer Theodor Storm...
Read MorePosted by Seda Ilter | 23rd Nov 2025 | Review, Theatre and Politics, Turkey, United Kingdom
In October 2025, Battersea Arts Centre hosted Aşınma (Corrosion) – a multi-award-winning theatre...
Read MorePosted by Margaret Rose | 23rd Nov 2025 | Adaptation, Italy, Review
Two major productions of Richard III are touring Italy in the present season, a sign perhaps that...
Read MorePosted by Jonathan Kalb | 20th Nov 2025 | Adaptation, Review, United States of America
The British directing star Robert Icke specializes in contemporary adaptations of classics. He...
Read MorePosted by Daniel Meyer-Dinkgräfe | 20th Nov 2025 | Directing, Essay, Germany
Since August 2019, I have owned and run the chamber theatre, piccolo teatro Haventheater, in...
Read MorePosted by Kuan-Ting Lin | 19th Nov 2025 | Interview, Playwriting, Taiwan, Theatre and Decolonization
Ihot Sinlay Cihek is a Taiwan-based Pangcah theatre artist whose work confronts the intersecting...
Read MorePosted by Morgan Skolnik | 17th Nov 2025 | New York, Puppetry, Review
Dimension Zero, the new sci-fi puppet musical from the Boxcutter Collective, arrives at HERE arts...
Read MorePosted by Jonathan Kalb | 16th Nov 2025 | Review, Theatre and Politics, United States of America
The farcical premise of Rajiv Joseph’s play Archduke—just opened at the Roundabout’s Laura Pels...
Read MorePosted by Jonathan Kalb | 15th Nov 2025 | Acting, Review, United States of America
With a depressingly vacuous, celebrity-circus Waiting for Godot sucking up so much oxygen on...
Read MorePosted by Emilija Kvočka | 7th Nov 2025 | Adaptation, Review, Serbia
Before the audience of the play 3sisters, with their eyes wide open, a music box, the girls on...
Read MorePosted by Aleks Sierz | 2nd Nov 2025 | London, Review, Theatre and Politics, United Kingdom
Thatcher, and the image of Thatcher’s Britain, continues to cast a long shadow over contemporary...
Read MorePosted by Jonathan Kalb | 1st Nov 2025 | Review, Theatre and Politics, United States of America
I went to Caroline Guiela Nguyen’s Lacrima at BAM with great eagerness and curiosity. This was a...
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“L’amor venia amb taxi” (Love Arrived By… by Maria Delgado 28th December 2025 

“The Phantom Of The Opera” Returns To Mexico: A… by Lorena Meeser 12th December 2025 

The Theater of Metaverse by Hayel Ali Al-Mathabi 10th May 2025
Dostoevsky on Stage. “The Mutt” by Anoushka… by Vassili Schedrin 7th December 2025 