“The Hoes” at The Hampstead Theatre
Because of the #MeToo movement, and the revival of feminist protest, the theme of sisterhood now...
Read MorePosted by Aleks Sierz | 27th Nov 2018 | London, Review, United Kingdom
Because of the #MeToo movement, and the revival of feminist protest, the theme of sisterhood now...
Read MorePosted by Maria Pia Pagani | 27th Nov 2018 | Italy, Review, Romania, Theatre and Opera
In 2018, the Nae Leonard Teatrul Muzical in Galati, Romania, was declared the National Opera...
Read MorePosted by Clement Lee | 26th Nov 2018 | Hong Kong, Review, Theatre and Dance
With a new artistic director leading a traditional art form to the frontier, Hong Kong Ballet...
Read MorePosted by Jane Baldwin | 26th Nov 2018 | Boston, Review, United States of America
The Boston Commonwealth Shakespeare Company began life as a summer program over twenty years ago...
Read MorePosted by Vikram Phukan | 25th Nov 2018 | Devised Theatre, India, Review, Theatre and Gender
The quiet drone of a tanpura marks the meditative beginnings of a new solo performance that opened...
Read MorePosted by Alexander Nderitu | 25th Nov 2018 | Review, Theatre and Gender, United States of America
Josephine Baker tribute shows garner favourable reviews across the world.
Read MorePosted by Abigail Weil | 22nd Nov 2018 | New York, Review, Theatre and Dance, United States of America
In the celebratory cookbook Cake, Maira Kalman writes: “When we lived in Rome we had a party...
Read MorePosted by Aleks Sierz | 22nd Nov 2018 | London, Review, United Kingdom
Plays about old age are also often plays about death. This is certainly true of American novelist...
Read MorePosted by Haylin Cai | 22nd Nov 2018 | London, Review, Theatre and Gender, United Kingdom
In Greek and Roman mythology, Medusa the Gorgon is a hideous, monstrous woman with snakes in place...
Read MorePosted by Clarissa Oon | 21st Nov 2018 | Review, Taiwan, Transcultural Collaborations
Part of the Asian Theatremakers series At the height of the fear and panic caused by the SARS...
Read MorePosted by Michael Appler | 20th Nov 2018 | New York, Review, United States of America
Stoppard has sought to lower the stage into the depths of the human mind, endeavoring to see the theater as a proxy for human consciousness, an outlet whose own bizarre corruptions of life are but well-directed reflections of our own conscious turmoil.
Read MorePosted by Lauren Deutsch | 19th Nov 2018 | Festivals, Los Angeles, Review, Theatre and Opera, United States of America
John Cage’s Europera 1 and Europera 2, (aka Europeras 1 & 2) was presented by The...
Read MorePosted by Jane Baldwin | 19th Nov 2018 | Boston, LGBTQ+ Theatre, Musical Theatre, Review, United States of America
Fun Home, the multi-Tony award winning musical is making its Boston début at SpeakEasy and a fine...
Read MorePosted by Patrick Langston | 18th Nov 2018 | Canada, Immersive Theatre, Review
There’s not much on the stage. Three bathtubs, a metal dress form and shower head hanging above...
Read MorePosted by Letizia Fusini | 17th Nov 2018 | China, London, Review, United Kingdom
The long-term collaboration between the China National Peking Opera Company (Guojia jingju yuan)...
Read MorePosted by Rathsaran Sireekan | 17th Nov 2018 | Belgium, Festivals, Review, Theatre and Politics
Cezary Goes To War by Cezary Tomaszewksi and Tell Me About The Revolution by Farbod Fathinejadfard...
Read MorePosted by Aleks Sierz | 16th Nov 2018 | Adaptation, London, Puppetry, Review, United Kingdom
In the days after the widespread commemorations of the 100th anniversary of the end of the first...
Read MorePosted by Jonathan Kalb | 16th Nov 2018 | New York, Review, United States of America
“So, a horse walks into a bar. The bartender says, ‘Why the long face?’ And the horse says, ‘I’m...
Read MorePosted by Michael Appler | 15th Nov 2018 | Musical Theatre, New York, Review, United States of America
Maybe “The Prom’s” greatest success, in all of its glitter and be gay, is a validation that splashy, garish musical comedies, themselves no champion of political correctness, can still be made from scratch. “The Prom,” exceptionally original yet cradled by tradition, is proof that bursting into jazz hands when someone puts you down is still a worthy prescription for joy.
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