Review Archives - Page 120 of 140

“The Exorcist” On Stage: ‘I Don’t Think Our Vomit Is Going To Be Green’

Posted by Holly Williams | 10th Nov 2017 | Adaptation, London, Review, United Kingdom

“Whenever I tell anybody I’m doing an adaptation of The Exorcist, the first question is: ‘Will the...

A Suitcase Packed With Stories: James Ngcobo’s New Play

Posted by Diane de Beer | 10th Nov 2017 | Adaptation, Review, South Africa, Theatre and Politics

The audience members were vocal in their approval from start to finish with Es’kia...

“Young Marx” at Bridge Theatre

Posted by Aleks Sierz | 9th Nov 2017 | London, Playwriting, Review, Theatre and Politics, United Kingdom

Given the rather uneven record of the National Theatre at the moment, there’s already a certain...

“One The Bear” (La Boite) New Transmedia Storytelling

Posted by Meredith Walker | 9th Nov 2017 | Australia, Musical Theatre, Review, Theatre and Gender, Transmedia

In true international award-winning Black Honey Company style, One The Bear bursts on the...

“Witness For The Prosecution” at London County Hall

Posted by Aleks Sierz | 9th Nov 2017 | Adaptation, Immersive Theatre, London, Review, Theatre and Politics, United Kingdom

Some site-specific theatre feels like a really good fit. You could say, in this case, that it...

Experiencing “Badke”

Posted by Samah Hijawi | 7th Nov 2017 | Belgium, Palestine, Review, Theatre and Dance, Transcultural Collaborations

KVS Theater in Brussels I tend to shy away from western-Arab collaborations. I tend to be...

The Swiss Are Shaking Up Hong Kong’s Dance Scene

Posted by Zolima Citymag | 5th Nov 2017 | China, Hong Kong, Review, Switzerland, Theatre and Dance

This article is brought to you by the Hong Kong Arts Centre With its expansive alpine views, low...

“A River All Red” And “The Phoenix Returns Home” By The China National Peking Opera Company At London’s Sadler’s Wells

Posted by Letizia Fusini | 5th Nov 2017 | China, Chinese Theatre Abroad, London, Review, Theatre and Opera, United Kingdom

Founded in 1955 by the renowned Chinese theatre star Mei Lanfang, the China National Peking Opera...

“The Mecca Tales” in New York

Posted by Jack Wernick | 4th Nov 2017 | New York, Review, Transcultural Collaborations, United States of America

The Mecca Tales is an essential new work of theatre by emerging Chicago-based playwright Rohina...

Dana Michel’s “Mercurial George” – Illegibility, Identity, Blackness

Posted by Anh Vo | 3rd Nov 2017 | Canada, Festivals, Review, Theatre and Dance

Illegibility, Identity, Blackness The lack of black choreographers/ black voices in Contemporary...

Politics, Human Rights And Social Activism: “Pista Rizalina” At The Cultural Center Of The Philippines

Posted by Sir Anril Pineda Tiatco | 3rd Nov 2017 | Festivals, Philippines, Review, Theatre and Politics

On September 21, 1972, then President Ferdinand Marcos declared Martial Law via Presidential...

David Greenspan Dazzles In One-Man “Strange Interlude”

Posted by Jessica Rizzo | 2nd Nov 2017 | Adaptation, New York, Review, United States of America

After his one visit to the country in 1909, Sigmund Freud reportedly remarked to a friend that...

Family, Latinidad, and Queerness Coalesce In Marga Gomez’s “Latin Standards”

Posted by Trevor Boffone | 2nd Nov 2017 | LGBTQ+ Theatre, Playwriting, Review, United States of America

Marga Gomez began her career in San Francisco’s gay comedy clubs in the mid-1980s, including the...

TotoToo’s production of “Bent” – On Being Gay in Nazi Germany

Posted by Jamie Portman | 1st Nov 2017 | Canada, LGBTQ+ Theatre, Review, Theatre and Politics

There are moments in TotoToo’s production of Bent that are as good as anything that this...

Big Bang: “Germinal” Creates a Universe Out of Nothing On Stage

Posted by Jana Perkovic | 1st Nov 2017 | Australia, Festivals, Melbourne, Playwriting, Review

In theatre-making, we often talk about world creation. “What is the world of the play?” teachers...

“Saint George and the Dragon” at The National Theatre

Posted by Aleks Sierz | 1st Nov 2017 | London, Playwriting, Review, United Kingdom

In Bertolt Brecht’s Life of Galileo (1943), there’s a typically didactic exchange: Andrea, the...

A New Adaptation of Kalidasa’s “Shakuntala” – A Soul Stirring Experience

Posted by Diwan Singh Bajeli | 31st Oct 2017 | Adaptation, India, Review

Chandradasan’s adaptation of Shakuntalam, staged at the National School of Drama, had a...

Mike Bartlett’s “Albion” at Almeida Theatre

Posted by Aleks Sierz | 31st Oct 2017 | London, Playwriting, Review, United Kingdom

Prolific writer Mike Bartlett is the most impressive penman to have emerged in British theatre in...

David Greenspan’s One-Man, 6-Hour Performance of Eugene O’Neill’s “Strange Interlude”

Posted by Jonathan Kalb | 30th Oct 2017 | Acting, Review, United States of America

The most interesting question about David Greenspan’s one-man, 6-hour performance of Eugene...

Life In The West End’s Second Best Historical Musical “The End of History”

Posted by Iain Hollingshead | 30th Oct 2017 | London, Musical Theatre, Review, Theatre and Politics, United Kingdom

Last month, 1,601 people were left disappointed by the news that Hamilton, the American musical...

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Review

“The Exorcist” On Stage: ‘I Don’t Think Our Vomit Is Going To Be Green’

A Suitcase Packed With Stories: James Ngcobo’s New Play

“Young Marx” at Bridge Theatre

“One The Bear” (La Boite) New Transmedia Storytelling

“Witness For The Prosecution” at London County Hall

Experiencing “Badke”

The Swiss Are Shaking Up Hong Kong’s Dance Scene

“A River All Red” And “The Phoenix Returns Home” By The China National Peking Opera Company At London’s Sadler’s Wells

“The Mecca Tales” in New York

Dana Michel’s “Mercurial George” – Illegibility, Identity, Blackness

David Greenspan Dazzles In One-Man “Strange Interlude”

Family, Latinidad, and Queerness Coalesce In Marga Gomez’s “Latin Standards”

TotoToo’s production of “Bent” – On Being Gay in Nazi Germany

Big Bang: “Germinal” Creates a Universe Out of Nothing On Stage

“Saint George and the Dragon” at The National Theatre

A New Adaptation of Kalidasa’s “Shakuntala” – A Soul Stirring Experience

Mike Bartlett’s “Albion” at Almeida Theatre

David Greenspan’s One-Man, 6-Hour Performance of Eugene O’Neill’s “Strange Interlude”

Life In The West End’s Second Best Historical Musical “The End of History”

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