“Cats”: The Jellicle Ball is near Purrfect
Alright, I’ll level with you. Maligned as it is (and oh is it ever) Andrew Lloyd Webber’s 1982...
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Review
Adelaide Cabaret Festival Understands How Its Audiences Long For Connection and Community
Now in its 24th year, the Adelaide Cabaret Festival’s annual celebration of all things cabaret...
Read More![Medea as a Border-Body [Part I]](https://thetheatretimes.com/wp-content/uploads/2024/06/Image-2-627x376.jpg.webp)
Medea as a Border-Body [Part I]
Perhaps the 2024 production of La MaMa’s Medea, under Zishan Ugurlu’s direction and reimagining,...
Read MoreMedea as a Border-Body [Part II]
To read PART I of this essay, go to this link. The snake that Medea uses to make her...
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“Invisible Lands,” Bodies, Gods, and… People
Invisible Lands, a two-performer act, initially presents itself as a nonverbal production with...
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The Bounds, Royal Court
Every day this week I’m watching a football match, and now — after April’s production of Lydia...
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Water for Elephants: a Musical or a Circus Drama?
Everyone knows that musical is a synthetic genre in which a story is being told by means of...
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New Play “American Signs” Looks At The Nefarious World Of Consultancies – But Leaves Australia Off The Hook
Anchuli Felicia King’s new one-performer piece, American Signs, written for the talented Catherine...
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“Pericles” – An Odyssey from Timișoara
Depicting an odyssey on stage is rather a challenge, especially when the main means of transport...
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“Youth Without God;” Unkind, Realistic Reminder
TESZT 2024 brings, from Zagreb Youth Theatre, Borut Šeparović’s production Youth Without God, on a...
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“The Marilyn Conspiracy,” Park Theatre
The death of Marilyn Monroe, on 4 August 1962, is a wet dream for conspiracy theorists. Like the...
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“The Constituent,” Old Vic
Good timing — as the UK’s general election campaign goes into its final week, this large-scale...
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Death Is Funny, Death is Lame, Death is Sudden, Death Can Happen to “Anybody”
A bitter-sweet, funny memento mori (and memento vivere, for that matter), Forte Company – Szkéné...
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“My Father’s Fable,” Bush Theatre
Following the huge success of Benedict Lombe’s Shifters, which transfers soon to the West End, the...
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“Laughs In Spanish” Review
Laughs in Spanish by Miami native Alexis Scheer is a love letter to her city, specifically the...
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How Padmavati Rao Embraces Life Through Theatre And Activism
Multifaceted in the true sense, Padmavati Rao approaches every character with humility and...
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Liu Xiaoyi’s Creative Revolution
Liu Xiaoyi is a man on a mission. His juice is an imagined world where artists are in the driver’s...
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Exploring A Dystopian World: Where Water Reigns Supreme In Human Transactions
In a world devastated by the apocalypse, where water has become the new currency of human...
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Ali Asghar Dashti & Nasim Ahmadpour – “We Came To Dance” (Kunstenfestivaldesarts)
“Can we fundamentally give a dancer an order to stop moving? […] Is dance not defined as the...
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Critical Generosity as a Decolonial Praxis
A view on EXÓTICA, by Amanda Piña / Studio Fortuna Art criticism is a stronghold of Western...
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