“Interrupted” at The 14th Factory – Immersive Multimedia Performance
Simply put, anyone who attended The 14th Factory’s afternoon of Interrupted on May 14th, an...
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Review
Rollercoaster Ride of the Now in “Building The Wall”
From the dimming lights at the top of the play to their final fade 90 minutes later, Building The...
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“Alice’s Adventures Underground”: New Immersive Limits Down the Rabbit Hole
“Drink me” or “Eat me.” Like Neo, in The Matrix, you are presented with a simple dichotomy that...
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Branden Jacobs-Jenkins’s “An Octoroon” In London
This is phenomenal. And pretty wild. Branden Jacobs-Jenkins’s An Octoroon at the Orange Tree...
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Paul Mason’s Revolutionary New Play, “Why It’s Kicking Off Everywhere”
Paul Mason has been expanding his portfolio of late. The former economics editor of Channel 4 News...
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New Adaptation of “Woyzeck” at Old Vic
Welcome back, John Boyega. Less than a decade ago, he was an unknown budding British stage actor,...
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“The Ugly One”: Examining the Instability of Identity with Brevity and Wit
An American Director and His Chinese Actors Tackle Contemporary German Theatre in Shanghai
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Lucy McCormick’s “Triple Threat” Is The Nativity Reimagined, With LGBT Club Culture, Vibrators, And Lady Gaga
Most of us have begrudgingly sat through a nativity play; feigned interest as a nephew plays...
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Mikhail Baryshnikov’s One-Man Show Showcases Joseph Brodsky’s Poetry And Their Lifelong Friendship
Throughout their 22-year friendship, Mikhail Baryshnikov and Joseph Brodsky loved nothing more...
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Sex, Masturbation, And Dementia: A Review Of David Baddiel’s “My Family: Not The Sitcom”
“The question is,” says David Baddiel a short while into the second half of his one-man show about...
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Marin Sorescu’s “Jonah”:–”Great, Imaginative Literature Matched With Great Theatrical Effort”
Marin Sorescu’s Jonah was originally published in 1968 and is considered the playwright’s...
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Sex, Death, and Gender Fluidity in Wilde’s “Salomé” at Royal Shakespeare Company
Salomé: one of the most dangerously seductive female figures ever, often considered the original...
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“Salomé” at the National Theatre
Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this...
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“A Doll’s House, Part 2” Is No Deep Analysis Of Its Source
A Doll’s House made Henrik Ibsen a household name in 1879. It ruffled feathers throughout the...
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Jez Butterworth’s “The Ferryman” at Royal Court Theatre
I hate the kind of hype that sells out a new play within minutes of tickets becoming available....
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Adapting Pier Paolo Pasolini: “T.E.O.R.E.M.A.T.” by Grzegorz Jarzyna
Teorema occupies a position of special importance in Pier Paolo Pasolini’s production, both as a...
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Paweł Korbus: “Influence Diagram”
During his residential stay (May–June 2016), the Polish artist and performer Paweł Korbus (1983)...
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Simon Stephens’ “Nuclear War” at The Royal Court Theatre
Text can sometimes be a prison. At its best, postwar British theatre is a writer’s theatre, with...
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“The Pulverised” at the Arcola Theatre
In the growing xenophobic atmosphere of Brexit it is a relief to see a show from Europe, to get a...
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“Charlie and the Chocolate Factory” on Broadway
My companion at Charlie and the Chocolate Factory, the new Broadway musical adaptation of Roald...
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