Review Archives - Page 84 of 140

“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.

“Authentic Or Fake?” Calithumpian Theatre Collective Stages Stephen Sachs’s “Bakersfield Mist”

Posted by Abhimanyu Acharya | 26th Feb 2019 | Canada, Review, Theatre and Art

The play is a good mix of entertainment and profundity and asks questions that can certainly be food for thought for the audience.

Lauren Gunderson’s “The Revolutionists”: Liberté, Égalité, And Sororité

Posted by Patrick Langston | 26th Feb 2019 | Canada, Review

Marie Antoinette’s wig could be a play unto itself. An eye-grabber in the Three Sisters Theatre...

Guilty Pleasures, Escapism, And The Greatest Hits Of ABBA Abound In TUTS’s “Mamma Mia!”

Posted by Trevor Boffone | 26th Feb 2019 | Musical Theatre, Review, United States of America

Confession. I love ABBA. For years I kept my Abba-session private. No one needed to know nor did I...

Story Of Kader Can; A Rapper Boy’s Journey From Poor Outskirts Of Istanbul To Military Barracks!

Posted by Handan Salta | 25th Feb 2019 | Review, Turkey

In this review, I tried to interview an imaginary well-read friend of mine who is fond of going to...

Gripping, Contemporary Take On Brecht: “The Good Person Of Szechwan” (Dir. Yury Butusov), At The Moscow Pushkin Drama Theatre At The Barbican, London

Posted by Katalin Trencsényi | 25th Feb 2019 | Directing, Review, Russia, Russian Theatre Abroad, Transcultural Collaborations

It was long overdue for a British audience to be given the opportunity to see another work by the...

Meshuggah, Nein? “Fiddler” In Yiddish

Posted by Abigail Weil | 24th Feb 2019 | Musical Theatre, New York, Review, United States of America

In 2004, Gwen Stefani, lately of the band No Doubt, released a song called Rich Girl which sampled...

“New Piece I: Since She”: Tanztheater Wuppertal and The Legacy of Pina Bausch

Posted by Duška Radosavljević | 24th Feb 2019 | Germany, Review, Theatre and Dance

In the last ten years since the death of Pina Bausch, Tanztheater Wuppertal, the company she...

Subtle and Striking, Irondale’s Timely “The Life of Galileo” is Epic Theater

Posted by Michael Appler | 22nd Feb 2019 | New York, Review, Theatre and Politics, Theatre and Science, United States of America

Irondale’s innovative and triumphant “Galileo” is Bertolt Brecht at his most excellent, cradled by an ensemble of dynamic and invested performers and pitched inevitably toward its audience with a playful, conscious eye toward its own didactic mission.