“Unknown” Polish Directors: Anna Augustynowicz
This series will introduce Polish directors whose work is recognised in Poland, but they are...
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Featured
The Things We Carry: Geoff Sobelle’s “The Object Lesson”
“Do your things spark joy?” That (to some, risibly) simple question, and her runaway 2014...
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A Report From the 2016 Divine Comedy Festival
The International Divine Comedy Festival (Boska Komedia), in Kraków has grown, over nearly a...
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Russia’s Mariinsky and Maly Drama Theaters to Perform in Washington
Russia’s two theater companies from St. Petersburg are beginning a series of performances in...
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Theatre Review: Chekhov’s “Three Sisters” At The Union Theatre
Simplified Production Deserves The Benefit Of The Doubt. Tracy Letts’ adaptation of Chekhov’s 1900...
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Theatre, Technology, and “The Tempest” – Interview With Sarah Ellis
Sarah Ellis is the head of digital development at the Royal Shakespeare Company. She first studied...
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Last Spring, Dementia Made It to Broadway! Part 2
Last spring, dementia made it to Broadway! Let me be clear: I am an Avant-garde type and I am wary...
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London: Three Controversies About National Identity
This year has got off to a very slow start, with exciting new British plays being exceedingly...
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Interview: Evgeny Goremykin Of London Russian Ballet School
The London Russian Ballet School is unique in its offer of an authentically Russian ballet...
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Remembering Sarah Kane
When Sarah Kane was still alive, it was vital to support her work — her style was so raw, so...
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New Leadership Brings Innovation to the Teatro 25 de Mayo
Buenos Aires is widely recognized by many as the theater capital of South America, and both the...
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Anna Smolar Awarded the Passport Prize in Theatre
The French-Polish director Anna Smolar, born in 1980, was awarded the 2016 Polityka Passport in...
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“Bat Out of Hell”—The Musical Opens in Manchester. Interview With Director Jay Scheib
Jim Steinman’s Bat Out of Hell – The Musical is opening with a burst of energy at the...
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“Peter Pan Goes Wrong” But Gets Comedy Right
The antithesis of some of the slick, accomplished television premieres of the festive season was...
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Life Is a Kitchen: A Review of the Iranian Adaptation of Arnold Wesker’s “The Kitchen”
The Kitchen, a one-hour, forty-minute play directed by Mohammad Hassan Ma’jooni, was staged in...
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Who Was Mary? And How Plausible is Colm Tóibín’s Reconstruction of Her?
Colm Tóibín’s play and the Booker-nominated novella The Testament of Mary aims to “demythologise”...
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Remembering Veenapani Theatre Festival Financed By Crowd-Funding
A crowd-funding campaign that has quietly been doing the rounds of theatre circles is now...
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Contemporary Dance in Belarus in the Early 21st Century: “Waiting for Godot”
During the last decade, two interconnected processes of legalization and professionalization have...
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Dispelling The Myths Of Circus
“Sweet is the lore which Nature brings; Our meddling intellect Mis-shapes the beauteous form of...
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From “The Hypocrite” to “Hamilton”: Six Must-See Theatre Shows to Book in London
The Hypocrite Could this be the new One Man, Two Guvnors? Richard Bean is back, with a riotous new...
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