Review Archives - Page 30 of 124

A.Y.L.A.N at the Oda Theater

Posted by Natasha Tripney | 4th Dec 2020 | Acting, Immersive Theatre, Kosovo, Review

The audience sits on the stage looking out at a sea of empty seats. From this perspective, they...

“Break” by Monia Sander Haj-Mohamed

Posted by Af Anika Marschall | 27th Nov 2020 | Denmark, Review, Theatre and Politics

Hvor kommer du fra? Hvor kommer du fra? Hvor kommer du fra? Hvor kommer du fra? I have probably...

A Big Small Story

Posted by Katarzyna Lemańska | 26th Nov 2020 | Poland, Puppetry, Review, Theatre for Young Audiences

Subdued browns, grays and black dominate the stage. The impression of a vast empty space is...

About “A Coin In Someone Else’s Pocket”

Posted by Aleks Sierz | 25th Nov 2020 | Review, Theatre and Religion, United Kingdom

Today, I watched the first episode in the Tools for Change trilogy, digital reimaginings of three...

Philip Ridley’s “The Poltergeist” at the Southwark Playhouse: High-Powered Tour de Force

Posted by Aleks Sierz | 21st Nov 2020 | London, Review, United Kingdom

Playwright Philip Ridley has had a very productive lockdown. Despite the constraints of the...

“Keely and Du” at The Seeing Place

Posted by Rhiannon Ling | 15th Nov 2020 | Covid-19, New York, Review, Theatre and Politics, United States of America

Keely and Du, Jane Martin’s seminal work from 1993, is a piece often touted for its emotional...

Adapting Tarots in Performance: LipZinc’s “Talking Tarots”

Posted by Armando Rotondi | 14th Nov 2020 | Adaptation, Ireland, Review

In his very famous book The Castle of the Crossed Destinies (Il castello dei destini incrociati,...

Review: “Cursed!” is a Play of Outrageous Wit and Deep Thought

Posted by Anthony Uhlmann | 13th Nov 2020 | Australia, Review, Sydney, Theatre and Age

Review: Cursed! by Kodie Bedford, directed by Jason Klarwein Tucked away at the back of the...

Of Wizards and Trolls: “Russian Troll Farm: A Workplace Comedy”

Posted by Michael Schweikardt | 10th Nov 2020 | Design, Review, Transmedia, United States of America

Co-workers Masha and Nikolai sit side by side in separate black boxes on my laptop screen. Their...

“Wonnangatta” Review: Australian Theatre-Writing at its Provocative and Powerful Best

Posted by Leigh Boucher | 9th Nov 2020 | Australia, Playwriting, Review, Sydney

Review: Wonnangatta by Angus Cerini, directed by Jessica Arthur, Sydney Theatre Company Theatre is...

“Señor Ruiseño (Monsieur Rossignol)”: Ce Commentaire Féroce Sur la Politique Catalane Actuelle Ouvre Une Nouvelle Voie de la Critique au Canada!

Posted by Francois Guillon | 7th Nov 2020 | Canada, Essay, Review

La compagnie catalane Els Joglars, crée en 1962 par Albert Boadella, Carlota Soldevila, propose...

“A Midsummer Night’s Dream” Conjures Dark Fantasies

Posted by Nobuko Tanaka | 6th Nov 2020 | Japan, Review, Theatre and Art

A Midsummer Night’s Dream has the makings of a fairy tale: a forest full of meddling fairies,...

Lessons Wanted, But Not Found, in “Daisy”

Posted by John Brunner | 5th Nov 2020 | Los Angeles, Review, Theatre and Politics, United States of America

On September 7, 1964, during an NBC Monday night movie, the democratic campaign to reelect...

“All Hallows Eve”

Posted by David Vernon | 3rd Nov 2020 | Musical Theatre, New York, Puppetry, Review, United States of America

All Hallows Eve is one of those rare productions that contain all the spicy ingredients of a...

Hybrid Vigor: Frankenthaler and Ravel, Part of the “Hearing Color, Seeing Time” Series

Posted by Clare Cioffero | 31st Oct 2020 | Review, Theatre and Art, United States of America

To the right of the piano, hung on the far wall of the space, was the ravishing 103 x 172.5 inch acrylic on canvas. The Frankenthaler abstract painting dominated the space with a wash of undulating colors and shapes. Rothenberg opened with commentary about the connections between these two works of art explaining that while it’s challenging to talk about abstract works, as Baudelaire wrote, sometimes the combination of two difficult pieces can clarify and reveal the heart of the works.