Barbarians in Midtown
The Terrence McNally/Stephen Flaherty/Lynn Ahrens musical Ragtime is not the subtlest theater...
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Featured
“All Right. Good Night.:” A Poetic Meditation on the Art of Letting Go
In All Right. Good Night., German docu-theater artist Helgard Haug turns loss into a language. The...
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Bloody Ignorant Apes
Absurd as it may seem, Samuel Beckett’s Waiting for Godot, a demanding play about existential...
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Taking A Hit
James Graham’s play Punch tells the true story of a shiftless, belligerent rowdy who heedlessly...
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Maestras On The Podium: Women Conductors On Broadway, Then And Now
When I was four years old, I asked my parents for piano lessons. We always had a piano in the...
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“Lale Lili Marleen:” The Promising Relaunch Of A Quaint Chamber Theatre In The Oldest District Of Bremen
The small district of Schnoor in the northern German city of Bremen, consisting of some 100...
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Welcome To The Machine
Among the most depressing facets of Donald Trump’s pathology is how all-consuming his hunger for...
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James Graham’s “Punch” at the Apollo Theatre: Compelling And Emotionally Intense Account Of Restorative Justice
Broken Britain has a big problem with youth. About a million of those aged 16 to 24 are NEETs (not...
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“Full Moon” by Josef Nadj at the Festival of International Alternative Theatre (FIAT) in Montenegro
“By the term theatre we do not only mean its expressive linguistic side, but also the cultural,...
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Debating Identity: Is It Time to Rename Cairo’s Experimental Theater Festival?
The Cairo International Festival for Experimental Theater (CIFET) has long been a vital platform for the boundary-pushing theatrical voices in the Arab world, and beyond. Recently, debates have emerged over whether to keep “experimental” in its name, as the festival faces pressure to broaden its scope and attract wider audiences. The question now is how to balance honoring the festival’s experimental roots while evolving to meet the changing theatrical landscape of the 21st century.
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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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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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