Interview with Spanish Playwright Antonio Rojano
Antonio Rojano is a self-taught playwright, and he is well-taught! He has won almost every main...
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Featured
We Need Language To Shock: Why “The Sublime” Gets Rape Wrong
Here are two opposing definitions of rape: Rape: a violent, criminal act almost exclusively...
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A Static “Ivanov” At Theaterfestival Basel
“Alienation” drones Ivanov’s English-learning tape in the second act of the production. The...
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Plays In Ancient Athens Would Have Been More Like A Kate Bush Concert Than High-End Theatre
The September 4 live transmission of Euripides’ Medea will have brought an ancient Greek tragedy...
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“Naked, Obscene Theater, That’s What Our People Fear” – On Russian Theatre and Politics
Kirill Serebrennikov, the artistic director of Moscow’s innovative Gogol Center, and a...
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Mariinsky Theatre: From Imperial Legend to Modern Powerhouse
Under Valery Gergiev’s leadership, the Mariinsky has emerged from the post-Soviet crisis to become...
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Teatr Chorea’s Retro//Per//Spectives Festival: Part 2
Over the five days of the Retro//Per//Spectives festival, the host company Teatr Chorea performed...
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Teatr Chorea’s Retro//Per//Spectives Festival: Part 1
American writer/director, Dara Weinberg, live-blogs for TheTheatreTimes.com from Teatr...
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“Ugly Mugs”: ‘An Unacceptable Breach Of Sex Workers’ Privacy’
Peta Brady’s Ugly Mugs, which I saw in Sydney last week, opens with a gurney being wheeled onto...
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New Fringe Play Offers Insights On Illegal “eBay For Drugs”
Alex Oates’ debut Fringe play traces the journey of 19-year-old Geordie lad Bruce, as he begins...
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Blood Orange Overplays Scottish Far Right At The Fringe
The Edinburgh Festival Fringe has, over the years, developed a reputation as a hotbed for...
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Assessing The First Wave Of The AIDS Epidemic, A Generation On
My Night With Reg, Kevin Elyot’s 1994 play, has returned to the London stage, poignantly only a...
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Mayakovsky At Carriageworks: A Telegram From An Alien Future
“I’m a poet. That’s what makes me interesting.” So begins the autobiography of Vladimir...
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Ireland’s National Theatre is at a Crossroads
Luke Casserly responds to the recent report from Scottish consulting firm Bonnar Keenlyside...
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Belarus Free Theatre: An Interview With “Red Forest” Director Nicolai Khalezin
Nicolai Khalezin is the director of the Belarus Free Theatre’s newest production Red Forest. He...
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Hugo Weaving Reveals Macbeth’s Weakness–And His Unhappiness
Sydney Theatre Company’s new production of Macbeth may draw attention for its star, Hugo Weaving,...
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The Palestinian Performing Arts Network
The Palestinian Performing Arts Network Programme (PAN) is targeted at Palestinian children and...
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Translating “One Flew Over the Kosovo Theatre”
This post was written exclusively for TheTheatreTimes.com by political analyst Alexandra Channer,...
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“Medea” Is As Relevant Today As It Was In Ancient Greece
A new production of Medea recently opened at London’s National Theatre to critical acclaim. This...
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LMDA 2014 Showcases Digital Theater Networks
The Literary Managers and Dramaturgs of the Americas (LMDA) convened the last week of June 2014 at...
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