Review Archives - Page 121 of 143

Junpei Mizobata Plunges Headfirst Into The Absurdist World Of Harold Pinter

Posted by Nobuko Tanaka | 29th Nov 2017 | Acting, Directing, Japan, Review

As the saying goes, “You can’t judge a book by its cover.” In the same way, if you thought the...

Natal’ya Vorozhbit’s “Bad Roads” at The Royal Court Theatre

Posted by Aleks Sierz | 29th Nov 2017 | London, Review, Theatre and Politics, Ukraine, United Kingdom

War is morally acidic: it dissolves social rules, loosens inhibitions and gives permission to men...

Julia Cho’s “Office Hour”

Posted by Jonathan Kalb | 28th Nov 2017 | New York, Review, Theatre and Politics, United States of America

Julia Cho’s Office Hour began life as a reaction to the 2007 mass-shooting at Virginia Tech. It...

Zuni Icosahedron Proves Hong Kong Can Be A Fertile Ground For Experimentation

Posted by Zolima Citymag | 28th Nov 2017 | China, Hong Kong, Review, Theatre and Art, Theatre and Film

Among Hong Kong’s artists, designers, playwrights and stage directors are polymaths who somehow...

David Eldridge’s “Beginning” at The National Theatre

Posted by Aleks Sierz | 27th Nov 2017 | Acting, London, Playwriting, Review, United Kingdom

One defining characteristic of Englishness is social awkwardness, and its emotional register is an...

Interpreting “The Mahabharata” With Puppets

Posted by Vikram Phukan | 26th Nov 2017 | Festivals, India, Puppetry, Review

Anurupa Roy’s contemporary retelling of the epic uses a melange of cultural influences to focus on...

Review Of Albert Camus’ “State Of Siege” By Théâtre De La Ville

Posted by Khaleem Ali | 26th Nov 2017 | Boston, France, Review, Theatre and Politics, United States of America

“[It] is utterly useless to accuse my characters of being symbolical,” wrote Albert Camus...

Natalya Vorozhbit’s “Bad Roads” At The Royal Court: Russian And Ukrainian Drama In The UK

Posted by James Rowson | 25th Nov 2017 | Review, Russia, Russian Theatre Abroad, Transcultural Collaborations, Translation, United Kingdom

This November, the Royal Court Theatre in London stages the global premiere of Ukrainian...

“The Suppliant Women” at The Young Vic

Posted by Aleks Sierz | 25th Nov 2017 | London, Review, Theatre and Politics, United Kingdom

Asylum is one of the most emotive words in the English language. It evokes valleys of pain,...

Pablo Remón’s “Barbados Etcétera” – Minimalist Theatre of Words and Presence

Posted by Mara Valderrama | 24th Nov 2017 | Review, Spain

The Ambigú is a tiny space in the Pavón Kamikaze theatre in Madrid; a large hallway bar that often...

“The Suppliant Women” – A New Version for Modern Times

Posted 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...

Ramlila at Prithvi Theatre: Rambunctious and Unforgettable

Posted by Vikram Phukan | 23rd Nov 2017 | Festivals, India, Review

Far from the creaky floorboards and blazing arc lamps of the makeshift prosceniums of Faridabad,...

“Heather” at The Bush Theatre

Posted 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...

“One Green Bottle” Exploring Japanese And English Sensibilities

Posted 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...

“Poison” at The Orange Tree Theatre

Posted 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...

Sitting With Amanda Parris’ “Other Side Of The Game”

Posted 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...

James Graham’s “Quiz” With Audience Participation

Posted 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...

“The Slaves Of Solitude” at The Hampstead Theatre

Posted 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...

“The Retreat” at The Park Theatre

Posted 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...

Theatre Of The Real: Bengali Playwright Manoj Mitra’s New Work on Socrates

Posted 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...

Review

Junpei Mizobata Plunges Headfirst Into The Absurdist World Of Harold Pinter

Natal’ya Vorozhbit’s “Bad Roads” at The Royal Court Theatre

Julia Cho’s “Office Hour”

Zuni Icosahedron Proves Hong Kong Can Be A Fertile Ground For Experimentation

David Eldridge’s “Beginning” at The National Theatre

Interpreting “The Mahabharata” With Puppets

Review Of Albert Camus’ “State Of Siege” By Théâtre De La Ville

Natalya Vorozhbit’s “Bad Roads” At The Royal Court: Russian And Ukrainian Drama In The UK

“The Suppliant Women” at The Young Vic

Pablo Remón’s “Barbados Etcétera” – Minimalist Theatre of Words and Presence

“The Suppliant Women” – A New Version for Modern Times

Ramlila at Prithvi Theatre: Rambunctious and Unforgettable

“Heather” at The Bush Theatre

“One Green Bottle” Exploring Japanese And English Sensibilities

“Poison” at The Orange Tree Theatre

Sitting With Amanda Parris’ “Other Side Of The Game”

James Graham’s “Quiz” With Audience Participation

“The Slaves Of Solitude” at The Hampstead Theatre

“The Retreat” at The Park Theatre

Theatre Of The Real: Bengali Playwright Manoj Mitra’s New Work on Socrates

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