The Great Tamer – A Greek Choreographer’s Bam Debut
Since Dimitris Papaioannou is a relatively unknown creator to the American audience, I feel...
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Review
An Expansive and Permeating Work Embracing Death and Humanity: A Paradox for Our Times: Gregory Maqoma – “Cion: Requiem of Ravel’s Bolero”
In darkness, a quiet sobbing, acutely intimate in the vastness of the Barbican main stage. Now...
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Tadashi Suzuki’s “Cyrano de Bergerac”: East and West Under the Umbrella
This year is a special one for the Theatre Olympics. For in it’s touring, it is comprised of two...
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Together As One: New Zealand’s First Festival of Solo Performance
TAHI Fess’s: New Zealand Festival of Solo Performance, Artistic Director: Sally Richards....
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“The House of the Spirits” at The Cervantes Theatre
South America’s trauma in the second half of the twentieth century can be summed up by one phrase:...
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“Oleanna:” SevenThirty Production’s Excellent Take on Flawed Script
David Mamet’s play Oleanna is about the power struggle between a university professor and one of...
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“Oleanna’s” Take on Sexual Harassment Holds Up Well
Oleanna, David Mamet’s then-startling play about sexual harassment and power dynamics, debuted in...
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“Welcome to My Underworld:” Collective Creation Compellingly Articulates the Need for Empathy
Dramaturged and directed by native Kingston and award-winning playwright Judith Thompson, the...
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“Happy Days” at Theatre Kingston
The works of modern Irish playwright Samuel Beckett, largely absurdist and tragicomic in scope,...
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“All Hallows Eve” The Musical
Composer Paul Rudolph accompanies the cast through a score that is perfectly in sync with the story line. Delightfully, it is a musical score that reminds it’s listener that this is how Musical Theatre “really works.” Both Haley and Lott keep up the musical pace with Barnhart.
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“Shukshin’s Stories” by The Theatre of Nations at The Barbican
This month, Moscow’s Theatre of Nations graced the Barbican’s stage with Shukshin’s Stories, an...
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GCTC’S “Bang Bang”: A Fast-Paced, Funny Satire
You think you have a handle on the messy business of appropriation? Then you haven’t seen Kat...
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Longing for New and Mysterious Worlds at the Finnish National Opera and Ballet
Ballet Alice in Wonderland, and operas Carmen, Die Tote Stadt, and Das Rheingold. At the Finnish...
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The World Premiere of “Eight Nights” at Antaeus Theatre Company
“We are moving in the right direction, we cannot go back – There won’t be more camps, more...
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“Heroes of the Fourth Turning” at Playwrights Horizons
We live in a time, especially in America, of increasing political divide. Many politicians and...
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“Reparations” at the Billie
James Sheldon’s Reparations is a new play about racial grievance, guilt, and retribution in...
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“The Black History Museum…According to the United States of America”
The Black History Museum….According to the United States of America, Smoke & Mirrors...
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“The Thanksgiving Play” at Geffen Playhouse
“What can we do to break down the myths and stereotypes of Thanksgiving in forty-five minutes with...
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Love in 3D: Multiple Guises for L’Amour at the Royal Opera House
Love seems to have preoccupied the planning team of the 2019/2020 season: it rushes on stage in so...
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“Old Stock: A Refugee Love Story” – Form Gets In The Way Of Important, Heartfelt Story
Hannah Moscovitch has a rare gift for portraying sincere, nuanced relationships. To watch her...
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