Disability Representation and the Rise and Fall of How to Dance in Ohio
On Monday How to Dance in Ohio, one of the most hyped shows of the 2023 Broadway fall season,...
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Zoe Cooper’s Northanger Abbey at the Orange Tree Theatre: High Energy and Queer-eyed Adaptation of Jane Austen Classic
Jane Austen is not just a classic novelist — she’s a cultural institution and a national treasure....
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Long and Short Hatreds
Joshua Harmon’s Prayer for the French Republic is a very good play about anti-Semitism that left...
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TheTheatreTimes.com: Towards Transnational Digital Infrastructure
Written by Magda Romanska and Kasia Lech All theatre is local. All theatre is global. Both...
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Creativity on the Edge, Communication with the Centre, and Conversations about the Future
Being on the edge is the place where I like to be no matter in what domain it is…and the edge is a...
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Interview with Brilliant Les Dramaturx (Germany): Playfully, In the Sense of Autonomous Art, or Politically, In the Sense of Artivism.
Christian Tschirner aka Soeren Voima (he/him – author, theater maker, Schauspielhaus...
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Dealing with a Difficult Past: Guillermo Calderón’s “Villa” at Santiago a Mil
Catching up with Guillermo Calderón’s Villa at Santiago a Mil after almost 12 years has been a...
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Design Writing: Five Views of Sarah Ruhl’s “Eurydice”
Introduction by Michael Schweikardt Student designers at San Francisco State University’s School...
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“El Lector Por Horas/Reader By The Hours.” A Successful Spanish Play That Also Deserves To Be A Global Hit
Sanchis Sinisterra is a Spanish playwright with a long career and many successes who is in the...
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Actor on the Verge of a Nervous Breakdown: “El Brote” (The Break) at Santiago a Mil
El Brote (The Break) is the tale of an actor who doesn’t feel he’s had the career breaks his...
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NYC Artists Stand in Solidarity with The Freedom Theatre
On January 13th, hundreds of artists and cultural workers marched through New York City’s theater...
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Performance and Politics: “Parlamento” (Parliament) Storms Santiago a Mil
Piel de Lava have been making work for 20 years and it shows. Elisa Carricajo, Valeria Correa,...
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Making a Film on Santiago’s Streets: “Efectos especiales” at Santiago a Mil
Think of a film set where the audience gathered on the streets are not fully aware that they are...
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Depression and discontents: Daniel Veronese’s staging of “La persona deprimida” (The Depressed Person) at Santiago a Mil
I read David Foster Wallace’s short story The Depressed Person soon after it was published in...
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From 1984 to 2024: Teatro Ictus’s “Primavera Con Una Esquina Rota” (Springtime In a Broken Mirror) at Santiago a Mil
Primavera con una esquina rota (Springtime in a broken mirror) has acquired a legendary status....
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“María Isabel” at Santiago a Mil: Staging Political Agency
How does one “write” a life for the stage? This question lies at the heart of Ana Luz...
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Marilyn Monroe – The Family Babysitter: Luke Yankee and the Creation of “Marilyn, Mom & Me”
This February, International City Theatre will present the world premiere of a new play, Marilyn,...
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More Sickly Mansions
There are lots of reasons Americans have always loved family-dustup plays and exalted them with...
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Shifting the Spotlight: Exploring the Scarcity of Female Voices in Iraqi Theatre
Upon the release of Contemporary Plays from Iraq in 2017, my focus shifted to translating works...
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Miguel del Arco’s “Rigoletto” at Madrid’s Teatro Real: In-Yer-Face Opera for In-Yer-Face Times
I am going to be honest. I didn’t see Verdi’s Rigoletto at the Real. I had wanted and planned to...
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