Review Archives - Page 87 of 124

Review: “To Kill A Mockingbird” At The Stratford Festival

Posted by Joe Szekeres | 18th Jun 2018 | Canada, Festivals, Review

Even after having taught this American classic to high school students for over thirty years, I...

The Glorious Anger Of “Leda And The Rage”

Posted by Arts Equator | 18th Jun 2018 | Review, Singapore, Theatre and Art, Theatre and Gender

Corrie Tan: When Edith Podesta first told us during our Studios podcast interview that Leda And...

The Tiger And The Anus: How KFDA Decolonises Cosmopolitanism

Posted by Rathsaran Sireekan | 18th Jun 2018 | Belgium, Brazil, Festivals, Review, Singapore, Theatre and Decolonization

The Kunstenfestivaldesarts (KFDA)’s commitment to promoting “cosmopolitan vision as an...

“Lucid Dreams” A Beautiful, Whimsical Performance Full Of Warmth

Posted by Rajka Stefanovska | 17th Jun 2018 | Canada, Festivals, Review, Theatre for Young Audiences

What an exciting piece of news for the Ottawa theatre community: Once Upon a Kingdom Theatre will...

The Power Of “La Pilarcita”: María Marull’s Opera Prima Celebrates Its Fourth Season In Buenos Aires

Posted by Susan Berardini | 17th Jun 2018 | Argentina, Playwriting, Review

Pilgrimages have long served as expressions of both collective and individual faith, as well as...

David Harrower’s “The Prime Of Miss Jean Brodie” At The Donmar Warehouse

Posted by Aleks Sierz | 17th Jun 2018 | Adaptation, London, Review, United Kingdom

Miss Jean Brodie, the larger-than-life Edinburgh schoolteacher that strides through Muriel Spark’s...

“Exquisita Agonía” At Repertorio Español

Posted by Jack Wernick | 16th Jun 2018 | New York, Review, United States of America

Repertorio Español, New York’s preeminent venue for Spanish language theatre, continues its 50th...

“Deep Present” – Jisun Kim Stages Four Artificial Intelligences

Posted by Claire Swyzen | 16th Jun 2018 | Directing, Review, South Korea, Transmedia

A shallow learning-play In Deep Present (2018) Seoul-based director Jisun Kim stages four...

Vanyamachine: Mallory Catlett’s “This Was The End”

Posted by Jessica Rizzo | 15th Jun 2018 | New York, Review, Russian Theatre Abroad, Transmedia, United States of America

An assemblage of intriguing aesthetic strategies, what Mallory Catlett’s This Was The End lacks in...

“The Strange Death Of John Doe” at The Hampstead Theatre

Posted by Aleks Sierz | 13th Jun 2018 | London, Review, Theatre and Politics, United Kingdom

Regular air travel is a hassle. All that queuing, all that security, all those hot halls, and then...

Stratford’s “To Kill A Mockingbird” Unveils An Intriguing Atticus Finch

Posted by Jamie Portman | 13th Jun 2018 | Adaptation, Canada, Festivals, Review

STRATFORD, Ont.—It didn’t seem such a great idea 11 years ago when the Stratford Festival first...

The Second Breakfast Company’s “The Moon is Less Bright”: A New Phase

Posted by Eugene Koch | 12th Jun 2018 | Review, Singapore

The Second Breakfast Company restaging Goh Poh Seng’s The Moon is Less Bright is akin to grabbing...

“Fatherland” at The Lyric Hammersmith: Masculinity in Crisis

Posted by Aleks Sierz | 12th Jun 2018 | Documentary Theatre, London, Review, Theatre and Gender, United Kingdom

Masculinity, whether toxic or in crisis (but never ever problem-free), is a hardy perennial...

When The Personal And Political Collide

Posted by Vikram Phukan | 12th Jun 2018 | India, LGBTQ+ Theatre, London, Review, United Kingdom

In his play, Contempt, queer activist and lawyer Danish Sheikh draws parallels (or contrasts)...

Boston Lyric Opera’s “Trouble In Tahiti”

Posted by Katrina Holden-Buckley | 10th Jun 2018 | Boston, Review, Theatre and Opera, United States of America

Boston Lyric Opera truly transformed the North End’s DCR Steriti Ice Rink into a 1950s Cuban style...

Acclimatization: Feminist Iranian Theatre Acclimatizes To Diaspora

Posted by Marjan Moosavi | 9th Jun 2018 | Canada, Documentary Theatre, Iran, Playwriting, Review, Theatre and Gender

Acclimatization refers to the process by which an individual organism adjusts to a change in its...

Welcome To The Murder House

Posted by John Smythe | 8th Jun 2018 | New Zealand, Review, United States of America

In Welcome to the Murder House, Alfred’s story is told, in the popular vaudeville style of the day, by a group of prison inmates. For them, Southwick is a hero, given their shared belief that execution by electrocution will be more humane than hanging. And, as with the development of all high quality theatre, it takes a lot of trial and error to get it right.