Review Archives - Page 64 of 143

“Botticelli in the Fire” at the Hampstead: A Queer 15th Century Tale.

Posted by Aleks Sierz | 9th Nov 2019 | Review, Theatre and Gender, United Kingdom

Botticelli is a household name, but who knows the true story behind his most famous painting? The...

“Painted Alice” Review: Down The Rabbit Hole Once More

Posted by Zhe Pan | 9th Nov 2019 | Adaptation, Review, United States of America

Lewis Carroll’s Alice’s Adventures in Wonderland is a popular source of musical adaptions....

Mozart by Way of Cape Town

Posted by James Montaño | 9th Nov 2019 | Adaptation, Boston, Review, South Africa, Theatre and Opera, United States of America

The Magic Flute by the Isango Ensemble at ArtsEmerson When the Isango Ensemble plays—on only eight...

Samuel Bailey’s “Shook” at Southwark Playhouse

Posted by Mert Dilek | 8th Nov 2019 | London, Review, United Kingdom

The winner of the 2019 Papatango New Writing Prize, Shook by Samuel Bailey offers a glimpse into...

“Dr. Ride’s American Beach House:” Ready for Orbit

Posted by Abigail Weil | 8th Nov 2019 | New York, Review, United States of America

It’s June 18, 1983. You’re a waitress in St. Louis who’s all but given up her dreams of achieving...

Murray Mednick’s “Mayakovsky and Stalin” At The Cherry Lane Theatre: Men With Bloody Hands

Posted by Zhe Pan | 7th Nov 2019 | New York, Review, Theatre and Politics, United States of America

In Murray Mednick’s “Mayakovsky and Stalin”, which made its New York premiere at the Cherry Lane...

Isadora Duncan and “The Figurative Arts in Italy:” An Exhibition Review.

Posted by Ariadne Mikou | 6th Nov 2019 | Italy, Review, Theatre and Dance

During summer 2019, Villa Bardini in Florence was the home of A Passi Di Danza. Isadora Duncan e...

“Old Stock:” A Refugee Love Story and Debate Between Empathy and Voyeurism

Posted by Aisling Murphy | 6th Nov 2019 | Canada, Review, Theatre and Politics

Canada is built upon a core tenet of otherness; its populace is built largely upon the mosaicked...

“Bun de Export:” A Personal Exploration of Romanian Migration

Posted by Aisling Murphy | 6th Nov 2019 | Review, Romania, Theatre and Politics

That the hallway beside the theatre is filled to its breaking point is a good sign: artists,...

Anima and Animus. Lucy Guerin: “Split.” The Place, London, Dance Umbrella 2019 Festival.

Posted by Katalin Trencsényi | 5th Nov 2019 | Australia, Dance Umbrella 2019, Review, Theatre and Dance

Lucy Guerin is one of the most innovative, postmodern choreographers on the contemporary dance...

The “Vessel” in which Dance and Sculpture Meet

Posted by William Peterson | 5th Nov 2019 | Australia, Review, Theatre and Dance

Vessel. 26-27 October 2019. OzAsia Festival, Adelaide, Australia. Now in its twelfth year,...

Between the Virtual and Real

Posted by Renu Ramanath | 4th Nov 2019 | Adaptation, Immersive Theatre, India, Review

Four strangers, a car and a video call make the play Bhranthu an unconventional visual experience....

“Fangirls” Review: New Musical has Enough Warmth, Witty Lines and Catchy Tunes to Win its Own Fangirls

Posted by Alastair Blanshard | 4th Nov 2019 | Australia, Musical Theatre, Review

Comedy often succeeds where tragedy fails. Fangirls, the pop musical which premiered on Thursday...

A Quietly Bold Statement from a New Artist with a Lot to Tell: Oona Doherty’s “Hard to be Soft” at Dance Umbrella Festival at Southbank Centre, London

Posted by Miranda Laurence | 3rd Nov 2019 | Dance Umbrella 2019, Review, Theatre and Dance, United Kingdom

My senses are all awakened. It begins in the darkness. A curl of smoke rises from a dimly lit bowl...

Jan Klata’s “King Lear” at the Theatre Olympics: In the Name of the Father

Posted by Emiliia Dementsova | 2nd Nov 2019 | Festivals, Poland, Review, Russia, Theatre Olympics 2019

King Lear by William Shakespeare. Text adaptation and music scoring by Jan Klata. Translation:...

Annie Baker’s “The Antipodes” at the National Theatre

Posted by Mert Dilek | 31st Oct 2019 | London, Review, United Kingdom, United States of America

“Wily, slippery thing.” “Spiky little animal.” “One long nightmare.” These are the phrases that...

“The Eighth Life (for Brilka)”: Dark Chocolate

Posted by Emiliia Dementsova | 31st Oct 2019 | Festivals, Germany, Review, Russia, Theatre Olympics 2019

The Eighth Life (for Brilka) or Das achte Leben (Für Brilka). Adapted by Julia Lochte and Emilia...

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...

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Review

“Botticelli in the Fire” at the Hampstead: A Queer 15th Century Tale.

“Painted Alice” Review: Down The Rabbit Hole Once More

Mozart by Way of Cape Town

Samuel Bailey’s “Shook” at Southwark Playhouse

“Dr. Ride’s American Beach House:” Ready for Orbit

Murray Mednick’s “Mayakovsky and Stalin” At The Cherry Lane Theatre: Men With Bloody Hands

Isadora Duncan and “The Figurative Arts in Italy:” An Exhibition Review.

“Old Stock:” A Refugee Love Story and Debate Between Empathy and Voyeurism

“Bun de Export:” A Personal Exploration of Romanian Migration

Anima and Animus. Lucy Guerin: “Split.” The Place, London, Dance Umbrella 2019 Festival.

The “Vessel” in which Dance and Sculpture Meet

Between the Virtual and Real

“Fangirls” Review: New Musical has Enough Warmth, Witty Lines and Catchy Tunes to Win its Own Fangirls

A Quietly Bold Statement from a New Artist with a Lot to Tell: Oona Doherty’s “Hard to be Soft” at Dance Umbrella Festival at Southbank Centre, London

Jan Klata’s “King Lear” at the Theatre Olympics: In the Name of the Father

Annie Baker’s “The Antipodes” at the National Theatre

“The Eighth Life (for Brilka)”: Dark Chocolate

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”

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