Bell Shakespeare’s New “King Lear” Understands The Joy Of A Good Tragedy
It is a common reflex to reach for Aristotle’s Poetics to determine what a good tragedy should be....
Read MorePosted by Kirk Dodd | 20th Jul 2024 | Australia, Dramaturgy, Review, Sydney
It is a common reflex to reach for Aristotle’s Poetics to determine what a good tragedy should be....
Read MorePosted by Gill Foster | 19th Jul 2024 | Musical Theatre, Review, United Kingdom
In the preface to The Picture of Dorian Gray (1890), Oscar Wilde wrote: “There is no such thing as...
Read MorePosted by Margaret Rose | 18th Jul 2024 | Dramaturgy, Festivals, Italy, Review
After Brexit, UK productions very rarely play in Italy, but Biennale theatre directors Gianni...
Read MorePosted by Molly Grogan | 17th Jul 2024 | Hong Kong, Review, Theatre and Politics
Amy Ng has a problem. The Hong Kong-raised, London-based playwright is holed up in a Causeway Bay...
Read MorePosted by Sarah Austin | 16th Jul 2024 | Australia, Festivals, Melbourne, Review
Rising situates itself as a festival of new art, performance and music that takes place in the...
Read MorePosted by Huw Griffiths | 16th Jul 2024 | Adaptation, Australia, Review
The figure of Dracula has always lived somewhere between the written word, screen projections and...
Read MorePosted by Morgan Skolnik | 13th Jul 2024 | LGBTQ+ Theatre, New York, Review, United States of America
Alright, I’ll level with you. Maligned as it is (and oh is it ever) Andrew Lloyd Webber’s 1982...
Read MorePosted by Catherine Campbell | 10th Jul 2024 | Australia, Festivals, Review
Now in its 24th year, the Adelaide Cabaret Festival’s annual celebration of all things cabaret...
Read MorePosted by Deniz Bașar | 10th Jul 2024 | Review, Theatre and Politics, United States of America
Perhaps the 2024 production of La MaMa’s Medea, under Zishan Ugurlu’s direction and reimagining,...
Read MorePosted by Deniz Bașar | 10th Jul 2024 | Review, Theatre and Politics, United States of America
To read PART I of this essay, go to this link. The snake that Medea uses to make her...
Read MorePosted by Teodora Medeleanu | 7th Jul 2024 | Review, Romania, TESZT 2024, Transmedia
Invisible Lands, a two-performer act, initially presents itself as a nonverbal production with...
Read MorePosted by Aleks Sierz | 4th Jul 2024 | Dramaturgy, Review, United Kingdom
Every day this week I’m watching a football match, and now — after April’s production of Lydia...
Read MorePosted by Lisa Monde | 4th Jul 2024 | Musical Theatre, New York, Review, United States of America
Everyone knows that musical is a synthetic genre in which a story is being told by means of...
Read MorePosted by Alana Lentin | 3rd Jul 2024 | Review, Theatre and Politics, United States of America
Anchuli Felicia King’s new one-performer piece, American Signs, written for the talented Catherine...
Read MorePosted by Teodora Medeleanu | 1st Jul 2024 | Review, Romania, TESZT 2024, Transmedia
Depicting an odyssey on stage is rather a challenge, especially when the main means of transport...
Read MorePosted by Teodora Medeleanu | 1st Jul 2024 | Review, Romania, TESZT 2024, Transmedia
TESZT 2024 brings, from Zagreb Youth Theatre, Borut Šeparović’s production Youth Without God, on a...
Read MorePosted by Aleks Sierz | 30th Jun 2024 | London, Review, United Kingdom
The death of Marilyn Monroe, on 4 August 1962, is a wet dream for conspiracy theorists. Like the...
Read MorePosted by Aleks Sierz | 30th Jun 2024 | Review, Theatre and Politics, United Kingdom
Good timing — as the UK’s general election campaign goes into its final week, this large-scale...
Read MorePosted by Teodora Medeleanu | 29th Jun 2024 | Review, Romania, TESZT 2024, Transmedia
A bitter-sweet, funny memento mori (and memento vivere, for that matter), Forte Company – Szkéné...
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