Review Archives - Page 82 of 138

“Superhoe” at The Royal Court: Nicôle Lecky’s One-Woman Debut

Posted by Aleks Sierz | 7th Mar 2019 | London, Review, Theatre and Gender, United Kingdom

Titles matter: they send out messages. So, in the current #MeToo climate, isn’t it a bit...

In “Kwongkan,” Indian And Australian Performers Convey An Urgent Climate Change Message

Posted by Vivienne Glance | 6th Mar 2019 | Australia, Festivals, Review, Transcultural Collaborations

Review: Kwongkan, Perth Festival 2019 “Kwongkan” means sand in the language of the Nyoongar...

“Bodies” at The Southwark Playhouse

Posted by Aleks Sierz | 6th Mar 2019 | London, Review, United Kingdom

James Saunders is one of British theatre’s forgotten playwrights. Although he wrote some 70 plays...

“Ajijaak On Turtle Island”: New York Stories Old And New

Posted by Abigail Weil | 6th Mar 2019 | New York, Puppetry, Review, Theatre for Young Audiences, Transcultural Collaborations, United States of America

On a recent Sunday afternoon, at the New Victory Theater, timelines collided. The New Vic, founded...

“How To Rule The World” Is A Biting And Urgent Satire Of Australian Politics–That Feels All Too Real

Posted by Leigh Boucher | 5th Mar 2019 | Australia, Review, Sydney, Theatre and Politics

How To Rule The World is Indigenous playwright Nakkiah Lui’s critical riposte to the intellectual...

At Roundabout, Can “Merrily” Still Roll Along, Reimagined?

Posted by Michael Appler | 5th Mar 2019 | Musical Theatre, New York, Review, United States of America

Fiasco Theater has dared to tempt fate yet again with Merrily, staging a buoyant, light-on-its-feet reimagining that’s stripped the musical of its original clutter, aiming, instead, for the story’s thematic heart.

Robert Lepage’s “887” at the Hong Kong Arts Festival

Posted by Clement Lee | 4th Mar 2019 | Canada, Festivals, Hong Kong, Review

Theatre as a memory vessel is nothing new to contemporary theatre. There is a reason why types of...

“The Gun Show (Can We Talk About This?)” At Quantum Theatre In Pittsburgh, PA

Posted by Wendy Arons | 4th Mar 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America

While there are several guns conjured to the imagination in EM Lewis’s one-person play The Gun...

“The Legend Of Georgia McBride” At Barebones Productions In Pittsburgh, PA

Posted by Wendy Arons | 4th Mar 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America

Unless you are somehow immune to the infectious pleasures of a good drag show, I’m willing to...

“Buxi Jagabandhu” A Story Of A Fearless Warrior

Posted by Diwan Singh Bajeli | 4th Mar 2019 | Festivals, India, Review

Staged at the 20th Bharat Rang Mahotsav, Buxi Jagabandhu showcased the heroic resistance of Odia...

Barcelona Meeting On Independent And Non-Institutionalised Theatres: A Short Report

Posted by Armando Rotondi | 4th Mar 2019 | News, Review, Transcultural Collaborations

It was a great success the first Barcelona Meeting on Independent and Non-Institutionalised...

When Poetry Is The Protagonist: “Lugones,” The Lord Of All The Words

Posted by Mayra Ortiz Rodríguez | 3rd Mar 2019 | Argentina, Playwriting, Review

Traditional literary analysis has focused on a tripartite division of genres as if they were...

World Premiere Of Completed Lorca Play: “The Dream Of Life” Opens In Madrid

Posted by Maria Delgado | 3rd Mar 2019 | Review, Spain

One of the highlights of Lluís Pasqual’s years at the helm of Madrid’s Centro Dramático Nacional...

Ravi Jain’s “Prince Hamlet”: A Meta-theatrical Reversal Of Disability And Gender

Posted by Abhimanyu Acharya and Sheetala Bhat | 2nd Mar 2019 | Canada, Review, Theatre and Disability

Why Not Theatre’s Prince Hamlet, adapted and directed by Ravi Jain, is a performative exploration of the relationship between aesthetics and disability. Prince Hamlet is a gender-bent, bilingual play which uses English and American Sign Language (ASL).

“Cougar” at The Orange Tree Theatre

Posted by Aleks Sierz | 2nd Mar 2019 | London, Review, Theatre and Gender, United Kingdom

Okay, let’s start with a definition: “Cougar: an older woman who actively seeks the casual, often...

Tears of a Clown: “American Juggalo”

Posted by Abigail Weil | 1st Mar 2019 | Adaptation, Documentary Theatre, New York, Review, Theatre and Politics, United States of America

What is a juggalo? Let me think for a second…Oh! He gets butt-naked and then he walks through the...

Brecht In Exile: “Galileo” In Brooklyn

Posted by Jack Wernick | 1st Mar 2019 | Adaptation, Germany, Review, Theatre and Politics, United States of America

New York’s Irondale Project presents a scrupulously faithful production of Brecht’s The Life Of...

“America Adjacent” At The Skylight Theatre Is Worth Consideration…

Posted by Christine Deitner | 28th Feb 2019 | Los Angeles, Review, Theatre and Gender, United States of America

If this sounds stark, that’s only because a simple paragraph of explanation cannot possibly do the script justice. Los Angeles based playwright Boni B. Alvarez is himself a son of Filipino immigrant parents and he has tapped into his roots to craft multi-dimensional characters that deliver surprising levels of humor in spite of the fact that they are essentially prisoners. The humor reveals the humanity and depth of these characters in ways that draw you close to them no matter how far removed you might feel from their situation.

Machinations Of Circus And Light: “When Angels Fall” Created By Rapaëlle Boitel At ArtsEmerson

Posted by Matthew McMahan | 27th Feb 2019 | Boston, Devised Theatre, France, Review, United States of America

Using the tools of the circus, performance art, modern dance, and puppetry, the French director...

“The Justice Syndicate”: How Do You Make Decisions? Immersive Theatre and Jury Duty

Posted by Aida Rocci | 27th Feb 2019 | Immersive Theatre, London, Participatory Theatre, Review, United Kingdom

An empty room. A large table. 12 iPads, 12 note pads, and 12 name desk holders that designate “Juror” along with a number. That is the simple setting for The Justice Syndicate, a new piece by fanSHEN. This interactive play revolves around a jury deliberation on a high-profile sexual assault case.