“Son of Byblos” Brings a Nuanced and Powerful Understanding of Lebanese Family Life to the Australian Stage
Review: Son of Byblos, directed by Anna Jahjah for Brave New World Theatre Company The downstairs...
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Review
“The Burnt City,” One Cartridge Place
Punchdrunk theatre, the eponymous progenitors of “immersive theatre,” have been wowing...
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“Abril imaginario”: One Step Beyond Immersive and Collaborative Theater
It is the second time that Los números imaginarios (The imaginary numbers), a Spanish company of...
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Ivo van Hove’s “Age of Rage” at Barbican
Ivo van Hove’s production of Age of Rage is sourced from six plays by Euripides and one by...
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“Stay Woke” Reminded Me of The Importance of Telling Stories of Injustice by Those Most Affected by It
Review: Stay Woke, by Aran Thangaratnam, directed by Bridget Balodis. The lingering smell of...
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“Black Boy,” or What to Do with the White Theatre Critic
What do you do when you are blown away by a show, and yet you know that there is something...
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Daniela Bershan and Others — “OCEAN”
OCEAN, or the touch of a relational lifeworld Sometimes, a performance, a work of art, reveals its...
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“Children of A Clockwork Orange” at the Youth Theatre, Novi Sad
Youth Theatre, Novi Sad. Premiered February 27, 2022. A few days ago, a friend who is a teacher...
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Dolce & Duce: “The Taming of the Shrew” at the Mossovet Theatre
In a country at war, theatres continue to work… “(They) are so simple to offer war...
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“King Lori – Instagration” at The Theatre ODA
Teatri ODA, Prishtina, 17th March 2022 Two actresses, both speaking in German, start talking about...
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“The Brothers Karamazov” at The Zagreb Youth Theater
Zagreb Youth Theater (ZKM), premiered on February 26, 2022 It is almost impossible to begin a...
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“Heroes of the Fourth Turning”: How Theatre Can Serve as a Mode of Inquiry into Right Wing Ideas
Why did 46.8% of Americans vote for Donald Trump in the 2020 election? Why did approximately 2,000...
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“Bloody Difficult Women” at The Riverside Studios
Although the current government has blundered through both Brexit and the pandemic, and is now...
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In Tonderai Munyevu’s “Mugabe, My Dad & Me,” The Personal Becomes the Political
There are two in one Tonderai Munyevus. I meet both of them on a snowy February evening at Brixton...
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“For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy” at Royal Court
What does it feel like to be British and black? Ryan Calais Cameron has recently emerged as the...
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Jackie Sibblies Drury’s “Marys Seacole” at the Donmar Warehouse
Jackie Sibblies Drury is one of the most exciting voices working in American theatre today. The...
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“Moreno,” Theatre503
When do you have to take a stand? What compels you to do it? And what are the costs involved?...
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Embrace All of Me: Jocelyn Kuritsky’s “A Simple Herstory”
The last several decades of U.S. history have seen a remarkable upswing in women’s political...
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The Power of Reflection in “Portrait Avedon-Baldwin, Entretiens imaginaires” at the Théâtre du Rond Point, Paris
One of France’s greatest prides is the network of African American artists who, in the...
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Mike Bartlett’s “Scandaltown” at Lyric Hammersmith
In 1987, Caryl Churchill — without doubt the best living playwright in Britain — premiered her...
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