Featured Archives - Page 98 of 259

Dejan Sretenović on Marina Abramović: “She is a Case Study for Young Performers – to Learn, to Be Brave, to Know Different Genres”

Posted by Ina Doublekova | 1st Mar 2020 | Interview, Serbia, Theatre and Art

Witch. Icon. Legend. Showman – Marina Abramović is all of that, and more. “I realized then...

“The Chains:” Dance Theatre Uganda Returns with a Bang!

Posted by Ian Kiyingi Muddu | 1st Mar 2020 | Review, Theatre and Dance, Uganda

We last saw them on stage in 2016. We thought they had gone down the way of most companies –...

Theatre is What You Say: An Interview with Ali Hardiman, Dublin Actor, Writer, Producer and Theatre-Make

Posted by Síofra Ní Shluaghadháin | 28th Feb 2020 | Acting, Interview, Ireland

It’s been a busy twelve months for Dublin actor, writer, producer and theatre-maker Ali Hardiman....

Churchill’s “Far Away” at The Donmar Warehouse

Posted by Aleks Sierz | 28th Feb 2020 | London, Review, Theatre and Politics, United Kingdom

Caryl Churchill, Britain’s best living playwright, is enjoying a spate of high-profile revivals of...

Updating “Romeo and Juliet” in a Bid to Fight Prejudice in Japan

Posted by Nobuko Tanaka | 28th Feb 2020 | Interview, Japan, Theatre and Gender

With William Shakespeare’s iconic use of English lost in translation, bold and reimagined versions...

Filming in Cunningham’s Footprints

Posted by Katalin Trencsényi | 27th Feb 2020 | Review, Theatre and Dance, Theatre and Film, United States of America

Cunningham Directed by Alla Kovgan “A 3D cinematic experience about legendary American...

Born Toulouse

Posted by Abigail Weil | 27th Feb 2020 | New York, Participatory Theatre, Review, Theatre and Disability, United States of America

To find Unmaking Toulouse-Lautrec, you will first enter through the wrong door. The production is...

Tim Cowbury’s “The Claim” at Shoreditch Town Hall: Quietly Satirical Account of Political Asylum

Posted by Aleks Sierz | 26th Feb 2020 | London, Review, Theatre and Politics, United Kingdom

Your story. Our story. Their story. Just imagine: you’re a political refugee, and, having...

As Fates Would Have It – What We Learn From Minor Players In Greek Tragedies And Hollywood Films

Posted by Elodie Paillard | 26th Feb 2020 | Essay, Greece, Theatre and Film

Many will be familiar with the looming presence of Oedipus or Antigone in Classical Greek tragedy....

“Albion” Returns to The Almeida, but Falls Short of Its Political Aspirations

Posted by Julian De Medeiros | 25th Feb 2020 | London, Review, Theatre and Politics, United Kingdom

There is nothing wrong with Albion. But the fact that the play is now ‘returning’ to the Almeida...

On Guts and Astonishing Effect: Gctc’s “Kiinalik: These Sharp Tools”

Posted by Aisling Murphy | 25th Feb 2020 | Canada, Participatory Theatre, Review

There’s a danger to hasty reaction. To act on instinct is to perhaps ignore a bigger contextual...

Henrietta Baird’s “The Weekend” Proves the Enduring Power of Solo Performance

Posted by Caroline Wake | 24th Feb 2020 | Australia, Festivals, Review

If this year’s Sydney Festival is any indication, the monologue is back. So far, I have seen...

The Art of Condensing Shakespeare’s Oeuvre

Posted by Nobuko Tanaka | 24th Feb 2020 | Japan, News, Theatre and Age

In theater, as in daily life, it is possible to have too much of a good thing. Such was the case...

Funny and Fem, “She the People” at the Huntington Theatre Company

Posted by Matthew McMahan | 23rd Feb 2020 | Boston, North America, Participatory Theatre, Review, United States of America

Visiting the city of Boston during its national tour, the Second City sketch revue She The People:...

“Revenge Song” – A Vampire Cowboys Creation at Geffen Playhouse

Posted by Christine Deitner | 23rd Feb 2020 | Los Angeles, Review, United States of America

Okay, my global theatre friends, we admit it – we here in Los Angeles have been missing...

Antoinette Nwandu’s “Pass Over” at the Kiln Theatre

Posted by Mert Dilek | 22nd Feb 2020 | London, Review, Theatre and Politics, United Kingdom, United States of America

Antoinette Nwandu’s play Pass Over is a palimpsest. Its outer surface looks familiar: haunted by...

Screaming, Sweat, and Prizes in “Old School Game Show” at OBERON

Posted by Matthew McMahan | 22nd Feb 2020 | Boston, Participatory Theatre, Review, United States of America

One of Boston’s long-running interactive theatrical events, now featured routinely at the...

A Hong Konger in Berlin – Armie Ma’s “No Coming Back” in Adelaide Fringe Festival

Posted by Clement Lee | 22nd Feb 2020 | Festivals, Hong Kong, Interview, Theatre and Politics

A one-man show by Hong Kong writer and performer Armie Ma will have its Australian debut in...

Caryl Churchill’s “A Number” at the Bridge Theatre: Family Drama About Genetic Manipulation

Posted by Aleks Sierz | 21st Feb 2020 | Review, Theatre and Politics, United Kingdom

Genetic engineering is in the news again. This follows the resignation of Andrew Sabisky as...

Martin Sherman’s “Rose” in Athens

Posted by Antigoni Gaitana | 21st Feb 2020 | Acting, Greece, Review

She is in her eighties when we meet her and shares with the audience the story of her life which began in a tiny Russian village, took her to Warsaw’s ghettos and a ship called The Exodus, and finally to the boardwalks of Atlantic City, the Arizona canyons and salsa-flavored nights in Miami beach.