“Painted Alice” Review: Down The Rabbit Hole Once More
Lewis Carroll’s Alice’s Adventures in Wonderland is a popular source of musical adaptions....
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Review
Mozart by Way of Cape Town
The Magic Flute by the Isango Ensemble at ArtsEmerson When the Isango Ensemble plays—on only eight...
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Samuel Bailey’s “Shook” at Southwark Playhouse
The winner of the 2019 Papatango New Writing Prize, Shook by Samuel Bailey offers a glimpse into...
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“Dr. Ride’s American Beach House:” Ready for Orbit
It’s June 18, 1983. You’re a waitress in St. Louis who’s all but given up her dreams of achieving...
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Murray Mednick’s “Mayakovsky and Stalin” At The Cherry Lane Theatre: Men With Bloody Hands
In Murray Mednick’s “Mayakovsky and Stalin”, which made its New York premiere at the Cherry Lane...
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Isadora Duncan and “The Figurative Arts in Italy:” An Exhibition Review.
During summer 2019, Villa Bardini in Florence was the home of A Passi Di Danza. Isadora Duncan e...
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“Old Stock:” A Refugee Love Story and Debate Between Empathy and Voyeurism
Canada is built upon a core tenet of otherness; its populace is built largely upon the mosaicked...
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“Bun de Export:” A Personal Exploration of Romanian Migration
That the hallway beside the theatre is filled to its breaking point is a good sign: artists,...
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Anima and Animus. Lucy Guerin: “Split.” The Place, London, Dance Umbrella 2019 Festival.
Lucy Guerin is one of the most innovative, postmodern choreographers on the contemporary dance...
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The “Vessel” in which Dance and Sculpture Meet
Vessel. 26-27 October 2019. OzAsia Festival, Adelaide, Australia. Now in its twelfth year,...
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Between the Virtual and Real
Four strangers, a car and a video call make the play Bhranthu an unconventional visual experience....
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“Fangirls” Review: New Musical has Enough Warmth, Witty Lines and Catchy Tunes to Win its Own Fangirls
Comedy often succeeds where tragedy fails. Fangirls, the pop musical which premiered on Thursday...
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A Quietly Bold Statement from a New Artist with a Lot to Tell: Oona Doherty’s “Hard to be Soft” at Dance Umbrella Festival at Southbank Centre, London
My senses are all awakened. It begins in the darkness. A curl of smoke rises from a dimly lit bowl...
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Jan Klata’s “King Lear” at the Theatre Olympics: In the Name of the Father
King Lear by William Shakespeare. Text adaptation and music scoring by Jan Klata. Translation:...
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Annie Baker’s “The Antipodes” at the National Theatre
“Wily, slippery thing.” “Spiky little animal.” “One long nightmare.” These are the phrases that...
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“The Eighth Life (for Brilka)”: Dark Chocolate
The Eighth Life (for Brilka) or Das achte Leben (Für Brilka). Adapted by Julia Lochte and Emilia...
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Sarah Rutherford’s “The Girl Who Fell” at the Trafalgar Studios: Death, Mourning, Co-Incidence and Healing
Feeling guilty can be a drug. A powerful drug. Okay, it makes you feel bad, but at the same time,...
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“XXX Neon Sign” Review: Embodied Performance About Working in a Brisbane Porno Shop
Review: XXX Neon Sign, composed by Dan Thorpe, Rumpus Theatre. More than perhaps any other...
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Mòshkamo: “Finding Wolastoq Voice”
Mòshkamo: Finding Wolastoq Voice reveals the founding cosmogony of the East Coast peoples. This...
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Double Bill: “Annunciation” by Angelin Preljocaj and “Siciliana” by Kor’sia Company at Teatro Massimo of Palermo (Italy)
The Teatro Massimo Βallet (TMB) company is one of the remaining state-subsidized ballet companies...
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