Review Archives - Page 74 of 138

“Amour” at Charing Cross Theatre

Posted by Amy Toledano | 3rd Jun 2019 | London, Musical Theatre, Review, United Kingdom

In Amour at Charing Cross Theatre, Post-World War II Paris is putting itself back together. People...

Sachli Gholamalizad’s “Let us believe in the beginning of the cold season”: Iranian Identity in an Age of Diaspora

Posted by Eylül Fidan Akıncı | 2nd Jun 2019 | Belgium, Review, Theatre and Politics

I can give two accounts of Sachli Gholamalizad’s solo performance Let us believe in the beginning...

Julia Pascal’s “Blueprint Medea” at The Finborough Theatre: Mythical Reboot

Posted by Aleks Sierz | 1st Jun 2019 | London, Review, Theatre and Politics, United Kingdom

The rewriting of Ancient Greek myth offers a way of creating contemporary stories that have a deep...

“Let Us Believe In The Beginning Of The Cold Season” – Sachli Gholamalizad

Posted by Eylül Fidan Akıncı | 1st Jun 2019 | Belgium, Review, Transmedia

I can give two accounts of Sachli Gholamalizad’s solo performance Let us believe in the beginning...

salt. at The Royal Court

Posted by Duška Radosavljević | 1st Jun 2019 | London, Review, Theatre and Gender, Theatre and Politics, United Kingdom

A hit of the Edinburgh Fringe 2017, Selina Thompson’s one-woman show salt is on at the Royal Court...

“Cosmic Latte” – Sonya Lindfors

Posted by Isaiah Lopaz | 31st May 2019 | Finland, Review, Theatre and Dance

In Cosmic Latte, Sonya Lindfors projects the audience into a Black future, while underscoring just...

“Pacific Overtures:” Solid, Safe, Sondheim

Posted by Rem Myers | 30th May 2019 | Boston, Musical Theatre, Review, United States of America

Pacific Overtures, currently running through June 16th at The Lyric Stage in Boston, is one of...

“School Girls; Or The African Mean Girls Play”: A Show About Competition

Posted by Jane Baldwin | 30th May 2019 | Boston, Playwriting, Review, United States of America

Jocelyn Bioh’s School Girls; Or, the African Mean Girls Play now appearing at Boston’s SpeakEasy...

“Drag Becomes Her” at The Soho Theatre

Posted by Maeve Campbell | 30th May 2019 | LGBTQ+ Theatre, London, Review, United Kingdom

Drag auteur, Peaches Christ, has made their name as an adaptor of cult movies, directing the great...

In “Cloudstreet,” Nostalgia All Too Easily Redeems Australia’s Colonial Past

Posted by Sandra D'urso | 29th May 2019 | Adaptation, Australia, Review, Theatre and Decolonization

Set in a rambling and ageing house haunted by a colonial past, Cloudstreet is a theatrical...

“White Pearl” at The Royal Court

Posted by Aleks Sierz | 28th May 2019 | London, Playwriting, Review, United Kingdom

Royal Court’s Artistic Director Vicky Featherstone’s commitment to staging a diversity of...

Toronto Laboratory Theatre: “In Sundry Languages” – Creating New Identities Through Collaborative Devising In Many Languages!

Posted by Alvina Ruprecht | 28th May 2019 | Canada, Devised Theatre, Review, Transcultural Collaborations

Art Babayants is a performer and the Artistic Director of the Toronto Laboratory Theatre, working...

“Salt” at The Royal Court

Posted by Aleks Sierz | 27th May 2019 | London, Review, United Kingdom

Most of the facts about the Atlantic slave trade are well known; what is less understood is how...

“The Pigeon King” At The NAC Is A Perfect Country Musical About Pigeon Scams, The Modern Family Farm, Hope And Loss, And That Reality Is Stranger Than Fiction

Posted by Ryan Pepper | 27th May 2019 | Canada, Review

The National Arts Centre’s latest acquisition, The Pigeon King originally from Blyth Festival and...

“We Live in Cairo:” Fully Committed, Still in Beta-Testing

Posted by Rem Myers | 27th May 2019 | Boston, Musical Theatre, Review, Theatre and Politics, United States of America

We Live in Cairo, a new musical written by brothers Daniel Lazour & Patrick Lazour, directed...

Review: “Scenes from 71* Years” by Hannah Khalil

Posted by Kathy Foley | 26th May 2019 | Israel, Palestine, Review, Theatre and Politics, Transcultural Collaborations, United Kingdom, United States of America

Scenes from 71* Years is a play of remembrance showing a diasporic perspective on the Palestinian...

“Gary” Isn’t Queer Enough

Posted by Jonathan Kalb | 26th May 2019 | LGBTQ+ Theatre, New York, Review, United States of America

The critical responses to Taylor Mac’s debut, Gary: A Sequel to Titus Andronicus, have been...

Ella Hickson’s “ANNA” at The National Theatre

Posted by Mert Dilek | 26th May 2019 | London, Review, Theatre and Politics, United Kingdom

Something is tantalizingly amiss at the National’s Dorfman Theatre. There is a headset attached to...

“Happy Days” at the Mark Taper Forum – Sorrow Keeps Breaking In

Posted by Christine Deitner | 25th May 2019 | Los Angeles, Review, United States of America

“Begin your day, Winnie.” In Samuel Beckett’s Happy Days, Dianne Wiest’s enviable range and...

Herta Müller’s “Niederungen” and The Dramaturgy of The Body

Posted by Jozefina Komporaly | 25th May 2019 | Dramaturgy, Review, Romania

The talented Romanian director Mihaela Panainte adapts Nobel laureate Herta Müller’s visceral...

Review

“Amour” at Charing Cross Theatre

Sachli Gholamalizad’s “Let us believe in the beginning of the cold season”: Iranian Identity in an Age of Diaspora

Julia Pascal’s “Blueprint Medea” at The Finborough Theatre: Mythical Reboot

salt. at The Royal Court

“Cosmic Latte” – Sonya Lindfors

“Pacific Overtures:” Solid, Safe, Sondheim

“School Girls; Or The African Mean Girls Play”: A Show About Competition

“Drag Becomes Her” at The Soho Theatre

In “Cloudstreet,” Nostalgia All Too Easily Redeems Australia’s Colonial Past

“White Pearl” at The Royal Court

Toronto Laboratory Theatre: “In Sundry Languages” – Creating New Identities Through Collaborative Devising In Many Languages!

“Salt” at The Royal Court

“The Pigeon King” At The NAC Is A Perfect Country Musical About Pigeon Scams, The Modern Family Farm, Hope And Loss, And That Reality Is Stranger Than Fiction

“We Live in Cairo:” Fully Committed, Still in Beta-Testing

Review: “Scenes from 71* Years” by Hannah Khalil

“Gary” Isn’t Queer Enough

Ella Hickson’s “ANNA” at The National Theatre

“Happy Days” at the Mark Taper Forum – Sorrow Keeps Breaking In

Herta Müller’s “Niederungen” and The Dramaturgy of The Body

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