“I, Wu Song”: A One-Man Cantonese Opera – Without Songs or Words
Anyone familiar with Chinese opera would recognise the role Kelvin Ng Kwok-wa is playing next....
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“Common:” Difficult To Follow And Nihilistic At The Wrong Time
History is a tricky harlot. She is bought and sold, fought for and thrown over, seduced and...
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Autotheatre in Poland as a Form of Institutional Critique
During the last two seasons we have been observing a distinctive trend of political theatre that...
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Erich Maria Remarque’s “Three Comrades” (“Drei Kameraden”) by the Sovremennik Theatre
This new tour of the Sovremennik Theatre in London also meant the premiere of Erich Maria...
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Defying “Romeo And Juliet” at The Shakespeare’s Globe
In “Romeo and Juliet” directed by Daniel Kramer, love, desire and violence are layered on top of each other, and with bold visuals and a daring interpretation, the classic releases its full power to examine violence and what can save us from it.
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Interview: Ha Sung-kwang as Cheng Ying in “The Orphan of Zhao: Seeds of Revenge”
The Orphan of Zhao: Seeds of Revenge was staged again recently. The premiere production was an...
Read MoreDefunded and Defiant, Iranian Theatre’s Path to Become Independent and/or Private
Independent theatres around the world pursue a twofold socio-economic and artistic goal and aim to make financial resources accessible to all individuals and groups as well as developing new theatrical experiences. The broad...
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A Portrait of Generation Rent in Hampstead Theatre’s “Deposit”
In this general election, the intergenerational conflict between youth and old age is never far...
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“Interrupted” at The 14th Factory – Immersive Multimedia Performance
Simply put, anyone who attended The 14th Factory’s afternoon of Interrupted on May 14th, an...
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Rollercoaster Ride of the Now in “Building The Wall”
From the dimming lights at the top of the play to their final fade 90 minutes later, Building The...
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“Alice’s Adventures Underground”: New Immersive Limits Down the Rabbit Hole
“Drink me” or “Eat me.” Like Neo, in The Matrix, you are presented with a simple dichotomy that...
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Walter Byongsok Chon on Dramaturgy: Interview with LMD
Walter Byongsok Chon is an assistant professor of dramaturgy and theatre studies at Ithaca...
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Branden Jacobs-Jenkins’s “An Octoroon” In London
This is phenomenal. And pretty wild. Branden Jacobs-Jenkins’s An Octoroon at the Orange Tree...
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Paul Mason’s Revolutionary New Play, “Why It’s Kicking Off Everywhere”
Paul Mason has been expanding his portfolio of late. The former economics editor of Channel 4 News...
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An Interview with Dorothea Marcus and Till Briegleb, Two Jury Members of the Berlin Theatre Meeting
An interview with Dorothea Marcus and Till Briegleb, two jury members of the Berlin Theatre...
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New Adaptation of “Woyzeck” at Old Vic
Welcome back, John Boyega. Less than a decade ago, he was an unknown budding British stage actor,...
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Sense of Crisis: An Interview with Robert Schenkkan
Robert Schenkkan first came to national prominence in 1992, when his epic play The Kentucky Cycle...
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Foreignness and Familiarity: An Interview with Dmitry Troyanovsky
Dmitry Troyanovsky, currently Assistant Professor of Theater Arts at Brandeis University, is a...
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“The Ugly One”: Examining the Instability of Identity with Brevity and Wit
An American Director and His Chinese Actors Tackle Contemporary German Theatre in Shanghai
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Lucy McCormick’s “Triple Threat” Is The Nativity Reimagined, With LGBT Club Culture, Vibrators, And Lady Gaga
Most of us have begrudgingly sat through a nativity play; feigned interest as a nephew plays...
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