Review Archives - Page 35 of 144

“Lotus Beauty,” Hampstead Theatre

Posted by Aleks Sierz | 22nd Jun 2022 | London, Playwriting, Review, Theatre and Gender, United Kingdom

Theatre is slowly recovering from the effects of the pandemic, and many shows which were canceled...

“House of Ife,” Bush Theatre

Posted by Aleks Sierz | 18th Jun 2022 | Dramaturgy, London, Playwriting, Review, Theatre and Decolonization, United Kingdom

In the past, most plays by black-British writers have been about the legacy of the Windrush...

The Meaning of Theater: Slava Stepnov’s “Flawed Choir” at the Steps Theatre

Posted by Vassili Schedrin | 17th Jun 2022 | Dramaturgy, New York, Playwriting, Review, United States of America

“All the world’s a stage,” says a character in William Shakespeare’s “As You Like It.” “Life...

Black Second-Act Problems: “Black No More” by The New Group

Posted by Jonathan Kalb | 15th Jun 2022 | Musical Theatre, Review, Theatre and Decolonization, United States of America

In my time as a critic I’ve noticed on numerous occasions that musicals rooted in political...

“The Haunting of Susan A” at The King’s Head Theatre

Posted by Konrad Zielinski | 14th Jun 2022 | Playwriting, Review, United Kingdom

Konrad: Hello, I’m Konrad. I’m here to share an account of the production of Mark Ravenhill’s The...

The Beast is Back: Radiotheatre’s Live Audio Play “King Kong”

Posted by Emily Cordes | 12th Jun 2022 | Adaptation, Review, Transmedia, United States of America

Since its original 1933 film debut, the story of King Kong has become a mainstay of America’s, and...

Frenemies and Freedom: “Confederates,” Signature Theatre

Posted by Jonathan Kalb | 11th Jun 2022 | Review, Theatre and Decolonization, Theatre and Gender, United States of America

Dominique Morisseau is aware that most of her fans see her as a predominantly naturalistic...

Fresh “Ham” at the Public

Posted by Jack Wernick | 7th Jun 2022 | Adaptation, Review, Theatre and Decolonization, United States of America

Fat Ham arrives at the Public Theater for its first live production following the Zoom staging by...

Missing Mason Jars —”Take Me Out,” Second Stage

Posted by Jonathan Kalb | 2nd Jun 2022 | LGBTQ+ Theatre, Playwriting, Review, United States of America

Walking out of the spiffy new production of Richard Greenberg’s Take Me Out, my canny friend Tom,...

“Legend of The Waitress & The Robber” – A Korean American Cross Cultural Collaboration Makes it to New York City

Posted by Philippa Wehle | 1st Jun 2022 | Musical Theatre, New York, Review, South Korea, Theatre and Politics, United States of America

The Legend of The Waitress & The Robber, a new musical theater piece by Renee Philippi, a...

South Australia’s Limestone Coast Was Formed from the Bones of Dead Fish. “Cathedral” Brings the Story of These Caves to the Stage

Posted by William Peterson | 30th May 2022 | Australia, Design, Review, Theatre and Science

Review: Cathedral, directed by Shannon Rush for the State Theatre Company of South Australia...

Learning Curve—”How I Learned to Drive,” Manhattan Theatre Club

Posted by Jonathan Kalb | 29th May 2022 | Review, Theatre and Gender, United States of America

Paula Vogel’s How I Learned to Drive is, famously, the play that blew the lid off the subject of...

“Son of Byblos” Brings a Nuanced and Powerful Understanding of Lebanese Family Life to the Australian Stage

Posted by Cherine Fahd | 27th May 2022 | Australia, Review, Theatre and Decolonization, Theatre and Gender

Review: Son of Byblos, directed by Anna Jahjah for Brave New World Theatre Company The downstairs...

“The Burnt City,” One Cartridge Place

Posted by Duška Radosavljević | 24th May 2022 | Adaptation, Immersive Theatre, London, Review, United Kingdom

Punchdrunk theatre, the eponymous progenitors of “immersive theatre,” have been wowing...

“Abril imaginario”: One Step Beyond Immersive and Collaborative Theater

Posted by Antonio Hernández Nieto | 22nd May 2022 | Immersive Theatre, Participatory Theatre, Review, Spain

It is the second time that Los números imaginarios (The imaginary numbers), a Spanish company of...

Ivo van Hove’s “Age of Rage” at Barbican

Posted by Duška Radosavljević | 19th May 2022 | Adaptation, Netherlands, Review, United Kingdom

Ivo van Hove’s production of Age of Rage is sourced from six plays by Euripides and one by...

“Stay Woke” Reminded Me of The Importance of Telling Stories of Injustice by Those Most Affected by It

Posted by Niro Kandasamy | 17th May 2022 | Australia, LGBTQ+ Theatre, Review

Review: Stay Woke, by Aran Thangaratnam, directed by Bridget Balodis. The lingering smell of...

“Black Boy,” or What to Do with the White Theatre Critic

Posted by Lara Cox | 16th May 2022 | Adaptation, France, Review, Theatre and Decolonization

What do you do when you are blown away by a show, and yet you know that there is something...

Daniela Bershan and Others — “OCEAN”

Posted by Bojana Cvejić | 11th May 2022 | Acting, Norway, Review, Theatre and Gender

OCEAN, or the touch of a relational lifeworld Sometimes, a performance, a work of art, reveals its...

“Children of A Clockwork Orange” at the Youth Theatre, Novi Sad

Posted by Borisav Matić | 8th May 2022 | Adaptation, Review, Serbia, Theatre and Politics, Theatre for Young Audiences

Youth Theatre, Novi Sad. Premiered February 27, 2022. A few days ago, a friend who is a teacher...

Review

“Lotus Beauty,” Hampstead Theatre

“House of Ife,” Bush Theatre

The Meaning of Theater: Slava Stepnov’s “Flawed Choir” at the Steps Theatre

Black Second-Act Problems: “Black No More” by The New Group

“The Haunting of Susan A” at The King’s Head Theatre

The Beast is Back: Radiotheatre’s Live Audio Play “King Kong”

Frenemies and Freedom: “Confederates,” Signature Theatre

Fresh “Ham” at the Public

Missing Mason Jars —”Take Me Out,” Second Stage

“Legend of The Waitress & The Robber” – A Korean American Cross Cultural Collaboration Makes it to New York City

South Australia’s Limestone Coast Was Formed from the Bones of Dead Fish. “Cathedral” Brings the Story of These Caves to the Stage

Learning Curve—”How I Learned to Drive,” Manhattan Theatre Club

“Son of Byblos” Brings a Nuanced and Powerful Understanding of Lebanese Family Life to the Australian Stage

“The Burnt City,” One Cartridge Place

“Abril imaginario”: One Step Beyond Immersive and Collaborative Theater

Ivo van Hove’s “Age of Rage” at Barbican

“Stay Woke” Reminded Me of The Importance of Telling Stories of Injustice by Those Most Affected by It

“Black Boy,” or What to Do with the White Theatre Critic

Daniela Bershan and Others — “OCEAN”

“Children of A Clockwork Orange” at the Youth Theatre, Novi Sad

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