Review Archives - Page 3 of 121

Miriam Battye’s Strategic Love Play At The Soho Theatre: Mixture Of Laughter, Pain And Insight Into Contemporary Romance

Posted by Aleks Sierz | 11th Sep 2023 | Review, United Kingdom

Remember what a first date feels like? Awkward. Exciting. Awkward. Intriguing. Awkward. Difficult....

“Writing Using:” Framing the Body’s Process of Liberation Through Contemporary Dance

Posted by Walter Byongsok Chon | 9th Sep 2023 | Review, South Korea, Theatre and Dance

Writing Using is the most recent work by Ahn Aesoon, one of the most renowned contemporary dancers...

68th Sterijino pozorje: A critical dialogue

Posted by Andrej Čanji and Borisav Matić | 6th Sep 2023 | Festivals, Review, Serbia

The 68th Sterijino pozorje took place earlier this summer in Novi Sad. Critics Borisav Matić and...

Tim Fraser’s Candy At Park Theatre: Moving Account Of Gender Identity And Masculinity

Posted by Aleks Sierz | 6th Sep 2023 | Review, United Kingdom

Okay, let’s start with a definition: it is said that sex is what you have between your legs, and...

“All the world’s a stage, and all the men and women merely players” at Shakespeare Festival in Serbia

Posted by Emilija Kvočka | 5th Sep 2023 | Festivals, Review, Serbia

The tenth in a row international theatre festival “Shakespeare Festival”, whose...

UNBOX ME! Live Theatre and the Virtual World.

Posted by Annette Balaam | 4th Sep 2023 | Review, Transmedia, United Kingdom

UNBOX ME! Written by Simon Jones. Directed by Simon Jones. Dramaturgy by Sara Giddens. Bodies in...

“Stumped.” Live Theatre In The Age Of Hybrid Realities.

Posted by Annette Balam | 3rd Sep 2023 | Review, Transmedia, United Kingdom

Originally Shomit Dutta’s new play Stumped was screened online from 27 September 2022. Streaming...

“A Mirror” at Almeida Theatre

Posted by Aleks Sierz | 3rd Sep 2023 | Acting, London, Review, United Kingdom

This is a play about censorship in a totalitarian state — but, no, I’m not reviewing The...

“Radio Man:” A Story of Connection and Bloodshed in Dystopian America

Posted by Rhiannon Ling | 2nd Sep 2023 | LGBTQ Theatre, New York, Review, Theatre and Gender, United States of America

It’s no secret that I’m an advocate for feminist, queer theatre. Or that I enjoy worlds of the...

Once Upon a Warning for Next Time

Posted by Morgan Skolnik | 1st Sep 2023 | Musical Theatre, New York, Review

“We’re not here to make fairytales, we’re here to follow them,” quips the narrator (Adam Godley)...

New Aussie Musical “Bloom” Misses An Opportunity To Interrogate The Gaps In Aged Care – And In Our Social Fabric

Posted by Sarah Austin | 29th Aug 2023 | Australia, Melbourne, Review, Theatre and Age

Bloom, the new Australian musical produced by the Melbourne Theatre Company, is proudly billed by...

Edinburgh Fringe 2023: Overview

Posted by Duška Radosavljević | 22nd Aug 2023 | Edinburgh 2023, Review, Scotland

There is a show at this year’s Fringe called Distant Memories of the Near Future written and...

The Echoes Of Lawino Reverberate In Uganda

Posted by Trevor Mukholi | 22nd Aug 2023 | Adaptation, Review, Uganda

When considering Okot p’Bitek’s perspective on African tradition, it becomes evident that change is inevitable. If African tradition is lived in the midst of the battle of life, then Lawino is not the character to focus on, as she refuses to acknowledge the possibility of change. Similarly, Ocol negates everything about himself to accommodate the other, but his transformation is ultimately revealed to be superficial. Opio and Clementine, however, require a more nuanced examination, as their experiences shed light on the agency of individuals in this exchange of aesthetics and epistemology.