“The Tragedy of Macbeth” at the Almeida Theatre
What does it take to stretch Shakespeare’s shortest tragedy to a runtime of over three hours? Not,...
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Review
“Snapped”: An Ode to Unresolved Grief
I don’t know how to write this. I am on the verge of tears again, the morning after...
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Shahid Iqbal Khan’s “10 Nights” at the Bush Theatre: Moving Insight into Ritual and Belief
Since 9/11 there has been considerable interest in staging stories about British Muslims, and the...
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“Tanz mit dem Tiger”: A Boundary-breaking Digital Hybrid Dance
Tanz mit dem Tiger (in English: Dance with the Tiger) is a forty-minute hybrid dance performance...
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Theatre for One: A New Kind of Theatre Experience
Theatre is coming back slowly but surely. Though a difficult medium to translate online, it has...
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Sensation and Documentation: Jody Christopherson’s “Tussaud/Antoinette”
The name “Tussaud” has always been linked to sensationalism and popular culture: now synonymous...
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Fake News and Propaganda Machines: New Theatre Production Pulls “Animal Farm” into the Now
In 1937, George Orwell witnessed a boy whipping a horse. This was a catalyst for his novel Animal...
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Heaven Isn’t Too Far away; It’s in Downtown Houston at TUTS’ “Rock of Ages”
I have to confess something. I haven’t really missed theatre since the Covid-19 pandemic forced...
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A Lady with a Machine Gun
Belarusian theatre hibernated since the notorious events of 2020. The artistic quality of most of...
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Met Opera Returns with History-making Debut by Terence Blanchard
The Metropolitan Opera, which was closed after the coronavirus broke out in New York in March...
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“These Are Not My Shoes” is Powerful Social Commentary
These Are Not My Shoes is a story about absent fathers and what happens to young men when they...
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Hilary Mantel and Ben Miles’s The Mirror and the Light at the Gielgud Theatre: Engaging, but Rather Low Key
This is a labor of love. Hilary Mantel has adapted The Mirror and the Light, the third novel of...
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Tang Kwong-San’s Quest to Understand Hong Kong
When Tang Kwong-san and fellow Hong Kong artist Yuen Nga-chi first visited Tung Ping Chau a few...
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A Memory Palace on Tauris: Reprise of Gluck’s Iphégenie en Tauride at the Paris Opera
Gluck’s Iphégenie en Tauride doesn’t waste any time ushering the viewer into its mystical score....
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“The Last Trial” Musical: There Once Was a Wizard, a Servant of Night
The poets say that Love will be the world’s great redeemer, But love is rarely quite as pure as...
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“Text Me When You Arrive” is Witty, Punchy, and Hard-Hitting!
In a normal country, plays like Text Me When You Arrive, which has just ended a short run at the...
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Review: “UnTuned” (Golvareh)
It’s hard to prepare for life’s high and lows when you think too highly of yourself to expect...
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“The Time of Our Singing” Opera Tackles Racial Segregation
Based on an American novel detailing the country’s troubled 20th century, the new Belgian...
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Bess Wohl’s “Camp Siegfried” at the Old Vic: Powerfully Chilling and Resonant
Are we too obsessed with Nazism? Apart from countless television programs which revisit that grim...
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Divas Are Forever: Marina Abramović’s “7 Deaths of Maria Callas”
Does a diva ever really die? It’s a fitting question from the reigning queen of endurance art,...
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