Review Archives - Page 91 of 140

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.

Ecce Homo: “The Great Tamer,” By Dimitris Papaioannou. Dance Umbrella Festival 2018, London, Sadler’s Wells

Posted by Katalin Trencsényi | 15th Nov 2018 | Dance Umbrella 2018, Festivals, Greece, Review, Theatre and Dance, United Kingdom

A curved, declivitous, dark-grey hill, built from large, rectangular vinyl blocks–reminiscent of...

“A Pupil” At Park Theatre

Posted by Aleks Sierz | 15th Nov 2018 | London, Review, United Kingdom

How do you judge artistic excellence? Is there such a thing as an objectively brilliant musician,...

Zadie Smith’s “White Teeth” at The Kiln Theatre

Posted by Aleks Sierz | 14th Nov 2018 | Adaptation, London, Review, United Kingdom

You can see why artistic director Indhu Rubasingham chose to stage this version of Zadie Smith’s...

Peking Opera At The British Library: The Triumph Of Xieyi

Posted by Letizia Fusini | 13th Nov 2018 | China, Chinese Theatre Abroad, London, Review, United Kingdom

As part of the China Focus Events Series, the British Library, in collaboration with Sinolink...

Off The Stage And Into Your Home

Posted by Vikram Phukan | 13th Nov 2018 | Applied Theatre, Festivals, India, Review

“The Stage in the Drawing-Room” is the title of a 19th-century instruction manual by Henry Dakin...

The Druid “Godot”

Posted by Jonathan Kalb | 12th Nov 2018 | Festivals, Ireland, Review

To those who feel overexposed to Waiting For Godot—which includes many theater snobs—no...

Luke Barnes’s “All We Ever Wanted Was Everything” At The Bush Theatre

Posted by Aleks Sierz | 12th Nov 2018 | London, Review, Theatre and Opera, United Kingdom

Sometimes, just sometimes, I see a show which makes me wish that all theatre could be like this. A...

Dead Centre’s “Chekhov’s First Play”

Posted by Duška Radosavljević | 11th Nov 2018 | Adaptation, Ireland, Review

Also known as Platonov or the Play Without A Title, Chekhov’s first playtext, written when he was...

“While I Was Waiting” Captures The Tragedy Of The Syrian Civil War In Damascus

Posted by William Peterson | 10th Nov 2018 | France, Review, Syria, Theatre and Politics

Review: While I Was Waiting, OzAsia Festival. Unrest breaks out in a proud and ancient city, its...

“Daniel’s Husband” At Westside Theatre

Posted by Jack Wernick | 10th Nov 2018 | LGBTQ+ Theatre, New York, Review, United States of America

A poignant, topical chamber piece for five characters, Daniel’s Husband commences with two gay...

“Oedipus Schmoedipus” at HKREP Black Box Theatre

Posted by Clement Lee | 9th Nov 2018 | Applied Theatre, Australia, Hong Kong, Review

Hong Kong Repertory Theatre (HKREP) has been presenting the biannual International Black Box...

“Sound Of The Beast” Slams Brutality, Inequality, And Racism

Posted by Willow White | 8th Nov 2018 | Canada, Immersive Theatre, LGBTQ+ Theatre, Review

Willow White reviews Donna-Michelle St. Bernard’s one-woman show Sound Of The Beast, produced by...

“Silence” At The NAC: The Romantic Life Of A Couple Behind The Invention Of The Telephone

Posted by Ryan Pepper | 8th Nov 2018 | Canada, Review

Silence brings to the spotlight the romantic life of the husband and wife behind the invention of...

At LCT, “Plot Points In Our Sexual Development” Traces the Edges of Queer Intimacy

Posted by Michael Appler | 8th Nov 2018 | LGBTQ+ Theatre, New York, Review, United States of America

Queer spaces, Miranda Rose Hall suggests, are uniquely suited to plot the points of sexual development, to explore the dynamic, malleable nature of identity. Queer sex not as negotiation or imitation, but as creation and innovation.

“The Ferryman” Steers Us to the Crossroads of Family and Myth, History and Tradition

Posted by Michael Appler | 8th Nov 2018 | New York, Review, United States of America

Beyond the guises of harvest festivity, more sinister fates are at work. Holy vows have been broken. Betrayals and tragic sin done. Promises not made, innocent slain and wars unwon.