Review Archives | Page 32 of 63

“Betroffenheit:” An Emotional Spectacle Which Transforms The Power Of Dance

Posted by Natasha Lomonossoff | 11th Apr 2018 | Canada, Review, Theatre and Dance

Betroffenheit, a creation by renowned Canadian choreographer Crystal Pite and writer Jonathon...

“Vincent River” at The Park Theatre: In-yer-Face Theatre at Its Cruel Best

Posted by Aleks Sierz | 10th Apr 2018 | LGBTQ Theatre, London, Review, United Kingdom

Every great playwright has to have both an identifiable style and the ability to innovate and...

“Love Me Now” at The Tristan Bates Theatre: Love in the Time of Tinder

Posted by Aleks Sierz | 9th Apr 2018 | London, Review, Theatre and Gender, United Kingdom

Love may well be the strongest four-letter word, but what is the latest news from the front line...

“In And Of Itself”: Derek DelGaudio’s Gift Of Encounter

Posted by Rachel E. Diken | 9th Apr 2018 | Immersive Theatre, New York, Review, United States of America

Wow. In & Of Itself, written and performed by Derek DelGaudio for long runs with numerous...

Socialist Morality in “The Threepenny Opera”

Posted by Katrina Holden-Buckley | 8th Apr 2018 | Boston, Review, Theatre and Opera, Theatre and Politics, United States of America

On Friday, March 23rd, Boston Lyric Opera continued its run of The Threepenny Opera to a sold-out...

Myth, Motherhood, And Desperation in Modern Adaptation of Lorca’s “Yerma”

Posted by Jonathan Kalb | 7th Apr 2018 | Adaptation, New York, Review, United States of America

Last Monday, about forty minutes into the final preview of Yerma at the Park Avenue Armory—Simon...

Searching For Lost Artists In “A Song Of Dewdrops”

Posted by Song Minsook | 7th Apr 2018 | Musical Theatre, Review, South Korea

I went to the Seoul Donhwamun Traditional Theatre in early November, the night of the first full...

The Politics of Child Abuse in Searing Māori Theatre: “Bless the Child” by Hone Kouka

Posted by David O'Donnell | 5th Apr 2018 | New Zealand, Review, Theatre and Politics

Bless the Child by Hone Kouka. Co-produced by the New Zealand Festival, Auckland Arts Festival and...

World Premiere Musical: “The Lucky Ones”

Posted by Brandon Webster | 4th Apr 2018 | Millennial Perspectives, Musical Theatre, New York, Review, United States of America

With downtown theatre audiences, the never-ending challenge is how to push boundaries and create...

Richard Eyre’s Production Of “Long Day’s Journey Into Night” Performed By Irons And Manville At Wyndham’s Theatre

Posted by María Agustina Pardini | 3rd Apr 2018 | London, Review, United Kingdom

Dysfunctional families do not know about time or place. We may all know too well that reading...

“The Great Wave” at The National Theatre: True Stories of Japanese People Abducted by the North Korean Regime

Posted by Aleks Sierz | 3rd Apr 2018 | Documentary Theatre, London, Review, United Kingdom

Until very recently British theatre has been pretty poor at representing the stories of Chinese...

The NAC Comes Up Trumps With “carried away”

Posted by Jamie Portman | 2nd Apr 2018 | Canada, Review

carried away on the crest of a wave By David Yee, Directed by Kim Collier. A NAC English Theatre...

“Black Men Walking” at The Royal Court: Ordinary Folk Doing Ordinary Thing

Posted by Aleks Sierz | 1st Apr 2018 | London, Review, United Kingdom

In the same week that Arinzé Kene’s Misty, a play that passionately questions the clichés of...

“La Traviata” at the Teatro Sociale in Rovigo

Posted by Massimo Malavasi | 1st Apr 2018 | Italy, Review, Theatre and Opera

On February 18th, 2018, Giuseppe Verdi’s La Traviata was staged at the Teatro Sociale in...

Pathos Of The Oppressed

Posted by Diwan Singh Bajeli | 31st Mar 2018 | Festivals, India, Review

At the ongoing Theatre Olympics, Kishore Sengupta’s play Nuraldiner Sarajiban highlighted...

Meredith Monk’s “Cellular Songs” At Brooklyn Academy Of Music

Posted by Marcina Zaccaria | 31st Mar 2018 | New York, Review, United States of America

Those who like to combine pop culture with classical practice might find something of a younger Alanis Morissette in Meredith Monk. Drawing her strength from within, she intones. Silence is as important as the sound, as the tone dips and builds. Monk sings, “Oh, I’m a thinking woman, I’m a thinking woman.” She is in the moment, present, and recognized.