Review Archives - Page 60 of 138

Sarah Rutherford’s “The Girl Who Fell” at the Trafalgar Studios: Death, Mourning, Co-Incidence and Healing

Posted by Aleks Sierz | 31st Oct 2019 | London, Review, United Kingdom

Feeling guilty can be a drug. A powerful drug. Okay, it makes you feel bad, but at the same time,...

“XXX Neon Sign” Review: Embodied Performance About Working in a Brisbane Porno Shop

Posted by Melanie Walters | 31st Oct 2019 | Australia, Musical Theatre, Review

Review: XXX Neon Sign, composed by Dan Thorpe, Rumpus Theatre. More than perhaps any other...

Mòshkamo: “Finding Wolastoq Voice”

Posted by Alvina Ruprecht | 30th Oct 2019 | Canada, Review, Transcultural Collaborations

Mòshkamo: Finding Wolastoq Voice reveals the founding cosmogony of the East Coast peoples. This...

Double Bill: “Annunciation” by Angelin Preljocaj and “Siciliana” by Kor’sia Company at Teatro Massimo of Palermo (Italy)

Posted by Ariadne Mikou | 30th Oct 2019 | Italy, Review, Theatre and Dance

The Teatro Massimo Βallet (TMB) company is one of the remaining state-subsidized ballet companies...

Between Activity and Reflection

Posted by Deepa Ganesh | 29th Oct 2019 | India, Review, Theatre and Art

The Art Experience workshop at Ninasam, tried to grapple with that experience which is...

Reflections on “Passageways”

Posted by David Vernon | 29th Oct 2019 | Musical Theatre, New York, Review, United States of America

Has Amy Oestreicher finally gotten that which she dreamed of? As a child, like so many other kids...

“The Shadow Whose Prey the Hunter Becomes”: Who Decides Who We re?

Posted by Bryoni Trezise | 29th Oct 2019 | Australia, Review, Theatre and Disability

In 2009 I wrote an email to the artistic director of Back to Back Theatre, Bruce Gladwin, gushing...

Iasi Theatre Festival for Young Audiences: “153 Seconds,” A Documentary of Contemporary Tragedy

Posted by Aisling Murphy | 28th Oct 2019 | Festivals, Review, Romania, Theatre for Young Audiences

The exposed nerve of a reignited public tragedy hangs in the ether of Teatrul Luceafărul Iaşi. We...

Ravers Under the Microscope: Dance Umbrella Festival Opens with Gisèle Vienne’s “Crowd” at Sadler’s Wells

Posted by Lisa Marie Bowler | 28th Oct 2019 | Dance Umbrella 2019, London, Review, Theatre and Dance, United Kingdom

The opening of the annual Dance Umbrella Festival of international contemporary dance in London...

Interpreting an Abstract Idea

Posted by Ranjani Govind | 28th Oct 2019 | India, Review, Theatre and Dance

Contemporary steps and fusion music will cruise through body-energies with Bharatanatya, Kathak,...

Richard Gadd’s “Baby Reindeer” at The Bush Theatre: An Obsessive Story About Obsession

Posted by Aleks Sierz | 27th Oct 2019 | Documentary Theatre, London, Review, United Kingdom

True stories, even in a fictional form, have the power to grip you by the throat, furiously shake...

Eunkyung Jeong Elucidates Enlightenment in Her Autobiographical Installation

Posted by Rathsaran Sireekan | 27th Oct 2019 | Review, South Korea, Theatre and Gender

The Political Self of Beauty South Korean artist Eunkyung Jeong’s interdisciplinary work at...

Alice Birch’s “[BLANK]” at the Donmar Warehouse

Posted by Mert Dilek | 26th Oct 2019 | London, Review, Theatre and Gender, United Kingdom

Believe me when I tell you that there is much more to Alice Birch’s play [BLANK] than meets the...

Arinzé Kene’s “Little Baby Jesus” at the Orange Tree Theatre: Lyrical, Energetic and Wise Coming-of-Age Drama

Posted by Aleks Sierz | 26th Oct 2019 | London, Playwriting, Review, Theatre and Age, United Kingdom

Wow. Just wow. The moment you enter the auditorium of this venue it’s immediately obvious that...

Olonkho Show “Dzhyrybyna the Warrior Woman”: Hit the Tambourine

Posted by Emiliia Dementsova | 26th Oct 2019 | Festivals, Review, Russia, Theatre Olympics 2019

The guest performance of the Olonkho Theatre from Yakutia in St. Petersburg as part of the Theatre...

Maxim Gorky’s “Vassa” at the Almeida Theatre

Posted by Mert Dilek | 25th Oct 2019 | Adaptation, London, Review, United Kingdom

“Our family doesn’t get on,” sneers the eponymous matriarch of Maxim Gorky’s Vassa, now playing at...

Samuel Gallet’s “Mephisto [A Rhapsody]” at The Gate Theatre

Posted by Aleks Sierz | 25th Oct 2019 | Adaptation, London, Review, Theatre and Politics, United Kingdom

Adaptation is too banal a word to describe the cross-fertilization of theatre and other art forms....

Protiv Etogo: “Mayakovsky and Stalin”

Posted by Abigail Weil | 24th Oct 2019 | New York, Review, Theatre and Politics, United States of America

As someone who has long been fascinated by both of the title characters, I am not sure who Murray...

“Slave Play”: Jeremy O. Harris’s “Balcony”

Posted by Jonathan Kalb | 24th Oct 2019 | New York, Review, Theatre and Politics, United States of America

Jeremy O. Harris’s Slave Play is the New York theater’s scandal du saison. It’s a play about race...

“A History Of Water In The Middle East” at The Royal Court

Posted by Aleks Sierz | 23rd Oct 2019 | London, Review, Theatre and Politics, United Kingdom

Sabrina Mahfouz is a British-Egyptian writer who has explored issues of Muslim and British...

Review

Sarah Rutherford’s “The Girl Who Fell” at the Trafalgar Studios: Death, Mourning, Co-Incidence and Healing

“XXX Neon Sign” Review: Embodied Performance About Working in a Brisbane Porno Shop

Mòshkamo: “Finding Wolastoq Voice”

Double Bill: “Annunciation” by Angelin Preljocaj and “Siciliana” by Kor’sia Company at Teatro Massimo of Palermo (Italy)

Between Activity and Reflection

Reflections on “Passageways”

“The Shadow Whose Prey the Hunter Becomes”: Who Decides Who We re?

Iasi Theatre Festival for Young Audiences: “153 Seconds,” A Documentary of Contemporary Tragedy

Ravers Under the Microscope: Dance Umbrella Festival Opens with Gisèle Vienne’s “Crowd” at Sadler’s Wells

Interpreting an Abstract Idea

Richard Gadd’s “Baby Reindeer” at The Bush Theatre: An Obsessive Story About Obsession

Eunkyung Jeong Elucidates Enlightenment in Her Autobiographical Installation

Arinzé Kene’s “Little Baby Jesus” at the Orange Tree Theatre: Lyrical, Energetic and Wise Coming-of-Age Drama

Olonkho Show “Dzhyrybyna the Warrior Woman”: Hit the Tambourine

Maxim Gorky’s “Vassa” at the Almeida Theatre

Samuel Gallet’s “Mephisto [A Rhapsody]” at The Gate Theatre

Protiv Etogo: “Mayakovsky and Stalin”

“Slave Play”: Jeremy O. Harris’s “Balcony”

“A History Of Water In The Middle East” at The Royal Court

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