From the Moscow Stage to Monroe and De Niro: How the Method Defined 20th-Century Acting
When an actor is criticized for peculiarly excessive preparation for a role, or an inability to...
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“Sky of Darkness” Comes to NYC: A Chinese Reimagination of “Heart of Darkness” in Our Neocolonial World
Sky of Darkness is enjoying its US premiere June 2-12 at Theaterlab in Midtown Manhattan. The...
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Liverpool Arab Arts Festival Returns to In-Person Format
Celebrating Arab culture, the Liverpool Arab Arts Festival (LAAF) is gearing up for its upcoming...
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Missing Mason Jars —”Take Me Out,” Second Stage
Walking out of the spiffy new production of Richard Greenberg’s Take Me Out, my canny friend Tom,...
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“Legend of The Waitress & The Robber” – A Korean American Cross Cultural Collaboration Makes it to New York City
The Legend of The Waitress & The Robber, a new musical theater piece by Renee Philippi, a...
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Mikhoels by Freud: “The Singing Windmills” by Roman Freud and the PM Theater Company
Why do we still remember theater that became history many decades ago? How do we remember plays...
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South Australia’s Limestone Coast Was Formed from the Bones of Dead Fish. “Cathedral” Brings the Story of These Caves to the Stage
Review: Cathedral, directed by Shannon Rush for the State Theatre Company of South Australia...
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Learning Curve—”How I Learned to Drive,” Manhattan Theatre Club
Paula Vogel’s How I Learned to Drive is, famously, the play that blew the lid off the subject of...
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EPIC Players Creates Employment and Training Opportunities for Autistic & Neurodivergent Theatre Makers
Autistic adults in the United States are unemployed at estimated rates of more than 80%. Those who...
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“Son of Byblos” Brings a Nuanced and Powerful Understanding of Lebanese Family Life to the Australian Stage
Review: Son of Byblos, directed by Anna Jahjah for Brave New World Theatre Company The downstairs...
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Belgian Premiere of “Molly Bloom” in Ghent
In 1999, Viviane De Muynck and Jan Lauwers set to work with the last chapter of James...
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“The Burnt City,” One Cartridge Place
Punchdrunk theatre, the eponymous progenitors of “immersive theatre,” have been wowing...
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Interactive Map: “Theatre and Decolonization” at “The Theatre Times”
Over the years, our contributors have been addressing the topic of decolonization in theatre and...
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“Abril imaginario”: One Step Beyond Immersive and Collaborative Theater
It is the second time that Los números imaginarios (The imaginary numbers), a Spanish company of...
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“The Legend of the Waitress & the Robber”: World Premiere of NYC-Seoul Collaboration Inspired by Schiller and Hong Gildong
The Legend of The Waitress & The Robber is a collaboration between the Korean theatre...
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From Uruguay to Auroville: Clowning Duo Brings Physicality and Humour to the Stage
At Adishakti Theatre’s Remembering Veenapani festival, a clowning troupe from Uruguay...
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Ivo van Hove’s “Age of Rage” at Barbican
Ivo van Hove’s production of Age of Rage is sourced from six plays by Euripides and one by...
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“Theater Now Is Important, It Gives People the Feeling that They Are Not Alone”: An Interview with the Ukrainian Playwright Andriy Bondarenko
Andriy Bondarenko is the dramaturg of the Puppet Theater in Lviv, Ukraine, where he lives, but he...
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“Stay Woke” Reminded Me of The Importance of Telling Stories of Injustice by Those Most Affected by It
Review: Stay Woke, by Aran Thangaratnam, directed by Bridget Balodis. The lingering smell of...
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“Black Boy,” or What to Do with the White Theatre Critic
What do you do when you are blown away by a show, and yet you know that there is something...
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