Review Archives - Page 90 of 140

“The Wider Earth” at The Natural History Museum: Adapt, or die!

Posted by Duška Radosavljević | 2nd Dec 2018 | London, Review, United Kingdom

Less is more. When it comes to theatre-making, there is hardly a more relevant maxim than this...

Legacy And Genius In Machover’s New Opera “Schoenberg In Hollywood”

Posted by Megan McCormick | 1st Dec 2018 | Boston, Review, Theatre and Opera, United States of America

It’s a bold move to write an opera about a musical genius: to evoke the style of said great...

Pilgrims’ Progress: Larissa FastHorse’s “The Thanksgiving Play”

Posted by Abigail Weil | 29th Nov 2018 | Devised Theatre, New York, Review, Theatre and Politics, United States of America

The political mantra “Nothing about us without us” is hard to object to immediately–it makes...

“Dear Dsylexia”: A Truthful Theatre Journey In A Dyslexic World

Posted by Armando Rotondi | 29th Nov 2018 | Review, Spain, Theatre and Disability

Dear Dsylexia–written on purpose with the wrong spelling–is a stunning piece of solo theatre,...

“Hadestown,” National Theatre, Review: Folk Opera That Dazzles Despite Its Imperfections

Posted by Rob Hastings | 28th Nov 2018 | London, Review, United Kingdom

When the lights go out for the interval midway through Hadestown, I’m already making a mental list...

“The Hoes” at The Hampstead Theatre

Posted 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...

Puccini’s “Turandot” In Galati: From The Fairy Tale To The Inner Life

Posted 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...

Hong Kong Ballet’s “Giselle” at Hong Kong Cultural Centre

Posted 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...

“Blue Kettle” And “Here We Go”: A First Rate Revival Of Two Of Caryl Churchill’s Plays

Posted 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...

“Muhnochini”: Wrestling With Feminine Forces

Posted 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...

Pioneering Black Superstar Immortalized on Stage

Posted by Alexander Nderitu | 25th Nov 2018 | Review, Theatre and Gender, United States of America

Josephine Baker tribute shows garner favourable reviews across the world.

Battlefield Generations: On The Iraqi Theatre Play “A Smell Of War”

Posted by Nora Amin | 24th Nov 2018 | Egypt, Festivals, Review

A Smell Of War was staged in Cairo within the Cairo International Festival for Contemporary and...

“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.