Review Archives - Page 123 of 142

Wanton Desire Proves To Be Timeless And Borderless In Japanese Version Of “Les Liaisons Dangereuses”

Posted by Nobuko Tanaka | 24th Oct 2017 | Directing, Japan, Review

The route that has brought Richard Twyman to Tokyo to direct an all-Japanese cast in a play based...

“Heisenberg: The Uncertainty Principle” at Wyndham’s Theatre

Posted by Aleks Sierz | 24th Oct 2017 | London, Playwriting, Review, United Kingdom

Playwright Simon Stephens and director Marianne Elliott are hyped as a winning partnership. Their...

Taylor Mac Makes History At Melbourne Festival Opening With “The Inauguration”

Posted by Sarah Balkin | 23rd Oct 2017 | Australia, Musical Theatre, New York, Review, United States of America

Taylor Mac described The Inauguration, which helped launch the 2017 Melbourne Festival, as “a...

“Caravan” Delivers A Glimpse Of Women On The Edge With Sweet Comedy

Posted by Sandra D'urso | 23rd Oct 2017 | Australia, Review, Theatre and Gender

Despite its forays into dark subject matter, Caravan, staged as part of the Melbourne Festival, is...

A Report On Iran’s Traditional And Ritual Theatre Festival

Posted by Farhang Farbod | 22nd Oct 2017 | Festivals, Iran, Review

The 18th Traditional and Ritual Theatre Festival was held September 1–6 in Tehran. The festival...

Ping Chong + Company Presents “ALAXSXA | ALASKA”

Posted by Heather Waters | 21st Oct 2017 | New York, Puppetry, Review, Theatre and Art, United States of America

Ping Chong + Company’s show ALAXSXA | ALASKA subverts an overused Western storyline of people as...

Francis Poulenc’s “Midnight In Paris” (“La Voix Humaine”) In Beijing

Posted by Cheng-Han Wu | 21st Oct 2017 | Belgium, China, Festivals, Review, Theatre and Opera, Transcultural Collaborations

Belgium’s new opera company Muziektheater Transparant is invited by the 2017 Beijing Music...

A Convincing “Tosca” at Boston Lyric Opera

Posted by Katrina Holden-Buckley | 20th Oct 2017 | Boston, Review, Theatre and Opera, United States of America

Riding the line between political thriller and melodrama, Joseph Kerman described Puccini’s Tosca...

An Inconvenient Truth – Henrik Ibsen’s “An Enemy of the People” at Yale Rep

Posted by Donald Brown | 20th Oct 2017 | Review, Translation, United States of America

Thanks to Trump’s designation of the press as “the enemy of the people,” the question of what...

Maria Irene Fornes’s “Mud” at Teatro Circulo

Posted by Jonathan Kalb | 20th Oct 2017 | Directing, New York, Review, United States of America

Maria Irene Fornes’s 1983 play Mud, widely considered a contemporary classic, is rarely produced...

Kuro Tanino’s “The Dark Inn” Illustrates Our Inability To Let Go Of Our Desires

Posted by William Peterson | 19th Oct 2017 | Japan, Review

The darkness of the human condition, where people are enslaved by their own desires in a kind of...

Nassim Soleimanpour and the Manila Envelope Theatre

Posted by Aida Rocci | 18th Oct 2017 | Iran, Playwriting, Review

Seven years ago, a new play challenged the role of the actor, the playwright, the audience, and the capacity of one individual to travel. The play was White Rabbit Red Rabbit, written by the mysterious Nassim Soleimanpour, an Iranian writer who encouraged the audience to email him with impressions about his play.