Nigerian Theatre: Thespian Family Theatre’s Production of Femi Osofisan’s “Altine’s Wrath”
At its worst, Altine’s Wrath, written by Femi Osofisan (one of Nigeria’s better-known playwrights)...
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African Theatre: Why It’s Important to Transpose Western Dramatic Classics
The Western dramatic canon has been a source of irritation to some Afrocentrists, who see it as...
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Dinosaurs On Stage: “Jurassica” Continues Australia’s Proud Lineage Of Italian Migration Stories
The play Jurassica, currently being performed at St. Kilda Theatre in Melbourne, begins with “the...
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“The Experiment” Is A Musical Monodrama To Love, Hate, Or Both
Last night, The Experiment – of which I’m part – opened at the Melbourne Festival. The story of...
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Jules Wright, Courageous Australian Theatre Director, Died Earlier This Year–Did You Know?
Old soldiers fade away. Old theatre directors disappear more quickly. And old female directors can...
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If I Be Left Behind: Toni Morrison’s “Desdemona” Reminds Us Too Many Voices Remain Unheard
The tragedy of Shakespeare’s Desdemona haunts the literary canon. Her murder at the hands of her...
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A Genre-Hopping Triumph: “The Rabbits”
What is opera? This is a question that has engaged puzzled commentators and practitioners since...
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Toni Morrison’s “Desdemona” Invites Us To Listen Not Just Hear
In Desdemona, Toni Morrison’s response to Shakespeare’s Othello, which opens today at the...
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Too Close For Comfort: Contemplating The Plight Of Asylum Seekers In “From Afar On A Hill”
Australia’s “boat people crisis” has, we’re told, been averted and for many, it’s a case of “out...
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Goodbye To All That: Orwell’s “1984” Is A Boot Stamping On A Human Face No More
The blurb for Robert Icke and Duncan Macmillan’s stage adaption of George Orwell’s 1984 for the...
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Defying Tradition: 32 Rue Vandenbranden and the Flemish Wave
Last week, Melbourne Festival opened with a production from the Belgian dance theatre...
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Redefining The (Able) Body
When I first travelled overseas, fresh out of university in the early 1980s, I found myself in the...
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Not So Fringe: Interactive Children’s Theatre Takes Center Stage
A highlight of this year’s Melbourne Fringe Festival, which begins tomorrow, is an expanded...
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In The Spirit Of Positive Disgrace: An Interview With Katarzyna Lemańska
What were the beginnings of your work with the Garbaczewski & Cecko duo? You met while working...
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Interview: Mikhail Reznikovich, An Artistic Director Of The National Theatre Of Kiev, Talks About Their Upcoming London Tour At The St. James Theatre
Kiev’s National Theatre of Russian Drama brings a festival of events celebrating Ukrainian...
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“Betrayal” By Harold Pinter, And Our Betrayal Of Ourselves
Some plays are ruled by a single word. It burns through their action, dark as pitch. Watching them...
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The Royal Court Market Stall
The Theatre Times interviews Ola Animashawun, Artistic Associate at The Royal Court Theatre and...
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“Antigone” Now: Greek Tragedy Is The Debate We Have To Have
When you hear the words Greek tragedy, you might think of white masks, or even the ongoing...
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Intimidation Tactics: The Landscape of Russian Theatre
Caitlin Connell and Patrick Connelly have spent the summer in Moscow looking at the current...
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Disability in Comic and Tragic Frames
The connection between humor and disability is perhaps one of the most challenging and...
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