Conor McPherson’s “The Weir” at the Harold Pinter Theatre: Beautifully Acted Revival Of A 1990s New Writing Classic
Perhaps it’s an indicator of the feebleness of new writing after the pandemic that so many of the...
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Featured
Cruelty, Guilt, And Redemption Intertwine In “The Mutt” At IATI Theater
With minimal décor and symbolism in every gesture, The Mutt — an adaptation of Dostoevsky’s The...
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International Project – Dramaturgy Lab: Exploring West Balkan Plays – “Big Deal” By Mia Efremova
Collective interview with Amy Sze (Theatre maker and arts producer, London, UK-Hong Kong), Mia...
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Theatre Is A University, A Lifelong Study Of Human Nature
Interview with Sandra Gribovska Ilievska, theatre actress, Bitola, R. Macedonia Sandra Gribovska...
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Violence and Therapy: 29th International Shakespeare Festival in Gdańsk, Poland, 2025
The International Shakespeare Festival in Gdańsk is not the festival of masterpieces and it never...
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Lessing’s “Emilia Galotti” As Directorial Debut In Bremen
At German theatres, some assistant directors are employed for the duration of a production, from...
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Unbound Curation – The Freedom Of Programming Without Frames
An Interview with Mr. Guy Coolen, art director, producer, manager, Antwerp, Belgium/Rotterdam,...
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“Tired” Of Consuming Postdramatic Theatre (Contemporary Theatre Often Lacks Strong Dialogue)
An Interview with Ana Ristoska Trpenoska, a playwright, dramaturg, Vienna/Skopje, Austria/R.N....
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Shakespeare In The Park At The New Delacorte Theater: Love Is Gender Fluid
In a world where the rule is to make huge efforts to attain an “effortless, relaxed” look, the new...
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To Embrace Vulnerability As One Of My Greatest Strengths (Stronger, Braver, Vulnerable)
An Interview with wonderful talented actresses Jovana Miladinova, Skopje, R.N. Macedonia....
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Edinburgh Festival Fringe 2025 in 22 Shows
This year’s Edinburgh Festival Fringe was as sprawling and invigorating as ever, and expectedly...
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“When Billy Met Alasdair” At The Scottish Storytelling Centre, Edinburgh Festival Fringe 2025
Writer-actor Alan Bissett’s When Billy met Alasdair imagines what happened when Alasdair Gray...
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I Hold On To The Beautiful Side Of Theatre
Interview with theatre director Tamara Stojanoska, Skopje/Prilep, R.N. Macedonia. Interviewer...
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We Passed Through The Wall Of Sorrow Together
We are an avant-garde theatre group, and after our successful performance of The History Boys by...
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Edinburgh Festival Fringe 2025: Provisional Futures in a World on Fire
For the last thirty years of my attendance, the Edinburgh Festival Fringe has always been too big...
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German Summer Festival Theatre (2): Domfestspiele Verden, “Die Zündholzfrau”
In 1997, an association was founded in the German city of Verden on the river Aller, located...
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“No Apologies” by Emma Frankland, Edinburgh Festival Fringe 2025
Emma Frankland’s No Apologies achieves something genuinely rare: a radical reimagining that...
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“The Ego” by Anemone Valcke and Verona Verbakel, Edinburgh Festival Fringe 2025
Anemone Valcke and Verona Verbakel’s The Ego emerges from Ontroerend Goed’s theatrical...
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“Riot Days” by Pussy Riot, Edinburgh Festival Fringe 2025
What is the purpose of performing arts when the stakes are literally life and death? Pussy...
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“Thanks for Being Here” by Ontroerend Goed, Edinburgh Festival Fringe 2025
The Belgian Company Ontroerend Goed have been coming to the Edinburgh Fringe for so long that I...
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