“The Suppliant Women” – A New Version for Modern Times
Lizzie Clachan’s set is a simple stone floor slanting downwards towards the audience in a warm...
Read MorePosted by Duška Radosavljević | 24th Nov 2017 | London, Review, Theatre and Gender, United Kingdom
Lizzie Clachan’s set is a simple stone floor slanting downwards towards the audience in a warm...
Read MorePosted by Vikram Phukan | 23rd Nov 2017 | Festivals, India, Review
Far from the creaky floorboards and blazing arc lamps of the makeshift prosceniums of Faridabad,...
Read MorePosted by Aleks Sierz | 22nd Nov 2017 | London, Playwriting, Review, United Kingdom
Harry Potter has a lot to answer for. The phenomenal success of JK Rowling’s books, and of their...
Read MorePosted by Nobuko Tanaka | 21st Nov 2017 | Collaborating Across Cultures, Japan, Review, United Kingdom
One Green Bottle is a new-ish work co-written by the renowned Japanese dramatist Hideki Noda and...
Read MorePosted by Aleks Sierz | 21st Nov 2017 | Acting, London, Playwriting, Review, United Kingdom
Continental drama, in this era of Brexit negotiations, seems to be rarer and rarer on British...
Read MorePosted by Hayley Malouin | 21st Nov 2017 | Canada, Review, Theatre and Art, Theatre and Gender, Theatre and Politics
Shelley Liebembuk reviews Cahoots Theatre and Obsidian Theatre’s world premiere of The Other Side...
Read MorePosted by Gary Shipton | 20th Nov 2017 | Festivals, London, Playwriting, Review, United Kingdom
Life-changing wealth which is won in an instant then recklessly sacrificed a second later is the...
Read MorePosted by Aleks Sierz | 20th Nov 2017 | Adaptation, London, Review, United Kingdom
The Second World War is central to our national imagination, yet it has been oddly absent from our...
Read MorePosted by Aleks Sierz | 19th Nov 2017 | London, Playwriting, Review, United Kingdom
Is Buddhism a path to finding spiritual enlightenment — or just an excuse for not facing your...
Read MorePosted by Sebanti Sarkar | 19th Nov 2017 | India, Playwriting, Review, Theatre and Politics
Six decades of writing, acting and directing often inspired by the changing milieu — Bengali...
Read MorePosted by Jane Baldwin | 19th Nov 2017 | Adaptation, France, Review, Theatre and Politics
Albert Camus’ 1948 play The State of Siege (L’État de Siège) is presently touring the U.S. in a...
Read MorePosted by Elle Kwan | 18th Nov 2017 | China, Review, Theatre and Dance, Theatre and Gender
The Legend Of White Snake isn’t old–it’s ancient. One of China’s Four Great Folktales (the other...
Read MorePosted by Kristin Tomecek | 17th Nov 2017 | Boston, Festivals, Review, Theatre and Opera, United States of America
Delightfully thought-provoking and fun, the Boston Opera Collaborative’s third annual festival...
Read MorePosted by Sigríður Jónsdóttir | 16th Nov 2017 | Iceland, Musical Theatre, Review, Theatre and Politics
The economic crisis in Iceland was messy, merciless and brought an entire nation completely...
Read MorePosted by Jessica Rizzo | 16th Nov 2017 | LGBTQ+ Theatre, New York, Review, United States of America
In 1967, not one but two productions of Charles Ludlam’s deliciously demented Conquest Of The...
Read MorePosted by Marcina Zaccaria | 13th Nov 2017 | Festivals, New York, Review, Theatre and Dance, United States of America
Beginning with the soccer ball, Marc Bamuthi Joseph moves to the left and to the right, shifting a...
Read MorePosted by Diwan Singh Bajeli | 13th Nov 2017 | Festivals, India, Playwriting, Review
This year’s winner at Mohan Rakesh Samman Evam Natya Samaroh, Ghanshyam Kumar Devansh’s Hastinapur...
Read MorePosted by John Smythe | 12th Nov 2017 | New Zealand, Review, Theatre and Gender
POTENTLY RELEVANT Warning: I’m about to give the (well-known) ending away because the play can’t...
Read MorePosted by Soha Elsirgany | 12th Nov 2017 | Egypt, New York, Review, Theatre and Gender, United States of America
After starting in New York, the storytelling performance made its international debut in Cairo,...
Read MorePosted by Jonathan Kalb | 12th Nov 2017 | Adaptation, New York, Review, United States of America
Dear Dust Man, I’m an avid theatergoer who missed seeing Nia Vardalos’s stage adaptation of Cheryl...
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