“Chasing Hares” at the Young Vic
While Britain is experiencing a “summer of discontent”, with inflation, strikes and other...
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Review
Honey, I’m Home! — Robert Icke’s “Oresteia”
If nothing else, you have to admire the chutzpah of Robert Icke’s Oresteia, which tries to...
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“The Cherry Orchard,” Portland Experimental Theatre Ensemble
What might Anton Chekov, that Russian master of the nineteenth century, have to say about the...
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Leveling Effects: Matthew Spangler’s Adaptation of “The Kite Runner”
Khaled Hosseini’s 2003 novel The Kite Runner is a vividly descriptive and often gripping tale of...
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Sacrament of the Sea: Houseworld’s “Bottom of the Ocean”
Whispering the word BOTO into the speakeasy-style window of a door, I felt a sense of trepidation,...
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Ivo Van Hove’s Water-turgy: “Ingolstadt” at the Salzburg Festival
Just over a hundred years since its founding (by impresario and theatre director Max Reinhardt),...
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Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part I
I arrived at the 2022 Avignon Theatre Festival seeking emotional rejuvenation after two years of...
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“The Hour of Death,” Bokshi Theatre Company
Pristina Prison, a notorious building in the centre of the city, was built during the Yugoslav era...
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About “Dog/Actor” at the Etcetera Theatre
Yesterday evening I went to see Dog/Actor at the Etcetera Theatre in Camden. Written by Steven...
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In Finucane & Smith’s “Future. Joy. Club.” the Joy is Much More Than the Sum of Its Parts
Review: Future. Joy. Club., Finucane & Smith The theatre of the occasion starts with a...
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“The Years of Crows” at National Theatre, Belgrade
National Theatre, Belgrade, premiere 12th March 2022 The Years of Crows is the great comeback for...
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With “The Tenant of Wildfell Hall” at The Sydney Theatre Company Gives Us a Brontë Adaptation for Our Moment
Review: The Tenant of Wildfell Hall, directed by Jessica Arthur for the Sydney Theatre Company...
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The Musical “Notre Dame de Paris” Returns to the United States
At the turn of the century, in 1998, Luc Plamondon created one of the greatest musicals Notre Dame...
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“The Fellowship,” Hampstead Theatre
I live in Brixton, south London. A few days ago, the borough’s aptly named Windrush Square hosted...
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“Heartlines”: An Engaging New Drama That Opens the World for Women Artists in Europe
Heartlines closes the spring season of 2022 in the Great Canadian Theatre Company in Ottawa. It is...
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Post-Factual Theater: “MJ” on Broadway
On the way to a play one day in early 2019, I climbed out of the subway at 8th Avenue and 44th St....
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Unmanly Griefs: Robert Icke’s “Hamlet”
The first ten minutes of Robert Icke’s 3 ¾-hour Hamlet had me worried. Icke is a British directing...
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“Bangers,” Soho Theatre
Is gig theater the latest sugar rush? Okay, it ups the brain’s serotonin levels and charges around...
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Comic Anticlimax in Nat Randall and Anna Breckon’s “Set Piece”
Review: Set Piece, by Nat Randall and Anna Breckon, for Rising. Nat Randall and Anna Breckon’s Set...
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“Penelope”: A Fresh Take on Homer’s Classic Epic Poem
The new musical Penelope by the York Theatre Company was a fresh and hilarious comedic take on...
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