Review Archives - Page 89 of 138

“OnlyHuman” At Danspace Project

Posted 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...

Don DeLillo’s “Love-Lies-Bleeding” At The Coronet Theatre

Posted 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...

Examining Gender Issues Through An Ancient Myth: 27 Degrees’ “Medusa” At Crypt Gallery

Posted 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...

Stan Lai: Between Laughter And Tears

Posted 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...

Tom Stoppard’s “The Hard Problem” Looks for Humanity in Human Consciousness

Posted 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.

(LA)Phil/The Industry Flexes Fluxus With Cage’s “Europeras”

Posted 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...

“Fun Home”: An Extraordinary Musical

Posted 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...

“The Drowning Girls”: A Story Of Misogyny And Murder

Posted 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...

A Tragedy With A Happy Ending: “The Emperor And The Concubine” By The China National Peking Opera Company At London’s Sadler’s Wells

Posted 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)...

Going To War And Making Revolution At The Bâtard Festival

Posted 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...

Nick Stafford’s “War Horse” At The National Theatre

Posted 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...

Wit’s End: Will Eno’s “Thom Pain”

Posted 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...

“The Prom” Is a Celebratory Trumpian Footloose When We Need It Most

Posted 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.