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- Wicked the Musical Celebrates Its 20th Anniversary… by Lisa Monde 9th November 2023
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- Musical “Evita”: 45 Years Later by Lisa Monde 22nd February 2024
- “Habitat” by Doris Uhlich: Performing a… by Marilena Borriello 6th August 2023
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- Becoming a Citizen Dramaturg by Liv Lanteri 24th February 2024
- Drag Queens in Musical Theatre by Lisa Monde 8th May 2023
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Recent Posts
- “The Bald Soprano,” French Absurd Theater Becomes a German Contemporary Opera Buffa 18th March 2024
- Tim Price’s “Nye” at the National Theatre: A Fun Life of the Creator of the National Health Service 14th March 2024
- “This Is Our Home” – Online Theatre Three Years Later 7th March 2024
- Lucy Kirkwood’s “The Human Body” at the Donmar Warehouse: Twin Tales of Illicit Love and the Founding of the National Health Service 6th March 2024
- Marius von Mayenburg’s Nachtland at the Young Vic: Satire on Art and Anti-Semitism Is Both Absurdist and Unsettling 4th March 2024
- Ascanio Celestini’s “Rumba. The Donkey and the Ox” 1st March 2024
- More Equal Theatre-Making in Europe: Reflection on Creative Europe and Practical Difficulties from Multilingual Perspectives 29th February 2024
- Multilingual Theatre For/With Young Audiences: On the Jeune Théâtre Européen Jeunes Publics Project 28th February 2024
- Peter Sellars’ “Beatrice di Tenda”: Freedom, Defiance, and Tyranny 27th February 2024
- Henrik Ibsen’s An Enemy of the People at the Duke of York’s Theatre: Thomas Ostermeier’s West End Debut Has Starry Cast And Punk Aesthetics 26th February 2024