October

Adaptations On The German Stage (1): “Sein Oder Nicht Sein” In Bremerhaven

29th October 2025 | Directing, Germany, Review
Meghan Tyler’s “Crocodile Fever” at the Arcola Theatre: Northern Ireland Sisters In A Darkly Funny Anti-Patriarchal Feast Of Symbols

27th October 2025 | Ireland, Playwriting, Review, United Kingdom
Six-Hour Tour De Force “Hamlet” In Hamburg, Directed, With Many Ironic Self-References, By Veteran Legendary Frank Castorf

27th October 2025 | Directing, Germany, Review
LegalAlien’s “The Flowers of Srebrenica”: Theatre as Healing

27th October 2025 | Bosnia, Review, Theatre and Politics
Nick Payne’s “The Unbelievers” at the Royal Court Theatre: Latest Play By A Top New Writer Is Disappointingly Unfocused

26th October 2025 | London, Playwriting, Review, United Kingdom
Barbarians in Midtown

22nd October 2025 | Musical Theatre, Review, United States of America
“All Right. Good Night.:” A Poetic Meditation on the Art of Letting Go

20th October 2025 | Directing, Germany, Review, United States of America
Bloody Ignorant Apes

15th October 2025 | Directing, Review, United States of America
Maestras On The Podium: Women Conductors On Broadway, Then And Now

11th October 2025 | Essay, Musical Theatre, Theatre and Gender, United States of America
“Lale Lili Marleen:” The Promising Relaunch Of A Quaint Chamber Theatre In The Oldest District Of Bremen

10th October 2025 | Directing, Germany, Review

September

James Graham’s “Punch” at the Apollo Theatre: Compelling And Emotionally Intense Account Of Restorative Justice

30th September 2025 | Documentary Theatre, Review, Theatre and Politics, United Kingdom
“Full Moon” by Josef Nadj at the Festival of International Alternative Theatre (FIAT) in Montenegro

30th September 2025 | Montenegro, Review, Theatre and Dance
Debating Identity: Is It Time to Rename Cairo’s Experimental Theater Festival?

26th September 2025 | Egypt, Essay, Festivals
Conor McPherson’s “The Weir” at the Harold Pinter Theatre: Beautifully Acted Revival Of A 1990s New Writing Classic

26th September 2025 | Acting, Dramaturgy, London, Review, United Kingdom
Cruelty, Guilt, And Redemption Intertwine In “The Mutt” At IATI Theater

19th September 2025 | Adaptation, New York, Review, United States of America
International Project – Dramaturgy Lab: Exploring West Balkan Plays – “Big Deal” By Mia Efremova

17th September 2025 | Dramaturgy, Hong Kong, Interview, Macedonia, Transcultural Collaborations
Theatre Is A University, A Lifelong Study Of Human Nature

15th September 2025 | Acting, Interview, Macedonia
Violence and Therapy: 29th International Shakespeare Festival in Gdańsk, Poland, 2025

11th September 2025 | Festivals, Poland, Review
Lessing’s “Emilia Galotti” As Directorial Debut In Bremen

9th September 2025 | Directing, Germany, Review
Unbound Curation – The Freedom Of Programming Without Frames

5th September 2025 | Belgium, Interview, Management

August

“Tired” Of Consuming Postdramatic Theatre (Contemporary Theatre Often Lacks Strong Dialogue)

31st August 2025 | Austria, Dramaturgy, Interview, Macedonia
Shakespeare In The Park At The New Delacorte Theater: Love Is Gender Fluid

30th August 2025 | New York, Review, Theatre and Politics, United States of America
To Embrace Vulnerability As One Of My Greatest Strengths (Stronger, Braver, Vulnerable)

28th August 2025 | Acting, Interview, Macedonia
Edinburgh Festival Fringe 2025 in 22 Shows

28th August 2025 | Edinburgh 2025, Review, United Kingdom
“When Billy Met Alasdair” At The Scottish Storytelling Centre, Edinburgh Festival Fringe 2025

27th August 2025 | Edinburgh 2025, Review, United Kingdom
I Hold On To The Beautiful Side Of Theatre

27th August 2025 | Directing, Interview, Macedonia
We Passed Through The Wall Of Sorrow Together

26th August 2025 | Essay, Iran, Theatre and Politics
Edinburgh Festival Fringe 2025: Provisional Futures in a World on Fire

25th August 2025 | Edinburgh 2025, Essay, Theatre and Politics, United Kingdom
German Summer Festival Theatre (2): Domfestspiele Verden, “Die Zündholzfrau”

25th August 2025 | Festivals, Germany, Review
“No Apologies” by Emma Frankland, Edinburgh Festival Fringe 2025

25th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
“The Ego” by Anemone Valcke and Verona Verbakel, Edinburgh Festival Fringe 2025

25th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
“Riot Days” by Pussy Riot, Edinburgh Festival Fringe 2025

25th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
“Thanks for Being Here” by Ontroerend Goed, Edinburgh Festival Fringe 2025

25th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
German Summer Festival Theatre (1): Theatersommer Wismar, Brecht/Weill The Threepenny Opera

24th August 2025 | Festivals, Germany, Review
“Aether”, Edinburgh Festival Fringe 2025

24th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
“Little Bulb: Listen Dance”, Edinburgh Festival Fringe 2025

24th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
“The Butterfly Who Flew Into The Rave”, Edinburgh Festival Fringe 2025

24th August 2025 | Edinburgh 2025, Festivals, New Zealand, United Kingdom
Duncan Macmillan’s Every Brilliant Thing at @Sohoplace: Moving Mixture Of Joyous Theatricality And Serious Mental Health Themes

23rd August 2025 | Playwriting, Review, United Kingdom
“A Poem And A Mistake,” Edinburgh Festival Fringe 2025

19th August 2025 | Edinburgh 2025, Review, Theatre and Gender, United Kingdom
“Works And Days” By The Fc Bergman Collective, Edinburgh International Festival

19th August 2025 | Belgium, Edinburgh 2025, Review, United Kingdom
“Wild Thing!” By Mechanimal, Edinburgh Festival Fringe 2025

19th August 2025 | Edinburgh 2025, Review, Theatre and Science, United Kingdom
Sam Kissajukian’s “Three Hundred Paintings,” Edinburgh Festival Fringe 2025

19th August 2025 | Australia, Edinburgh 2025, Review, United Kingdom
Mohamed El Khatib’s “La Vie Sècrete Des Vieux”: a Poetics of Attentive Listening

18th August 2025 | Finland, France, Review, Tampere Theatre Festival 2025
“Make It Happen,” Edinburgh Festival Theatre 2025

18th August 2025 | Edinburgh 2025, Review, Scotland, United Kingdom
“Suburbia,” Written And Performed By Jonny Woo, Edinburgh Festival Fringe 2025

18th August 2025 | Edinburgh 2025, Review, Theatre and Gender, United Kingdom
“Cassandra,” Written And Performed By Ailsa Dixon, Edinburgh Festival Fringe

14th August 2025 | Edinburgh 2025, Review, Scotland, Theatre and Gender
Karis Kelly’s “Consumed” At The Traverse Theatre, Edinburgh Festival Fringe

14th August 2025 | Edinburgh 2025, Review, United Kingdom
“A Gambler’s Guide To Dying” Set In Glasgow’s Gorbals, Edinburgh Festival Fringe

14th August 2025 | Edinburgh 2025, Review, Scotland
“Athens Of The North” at the Scottish Storytelling Centre, Edinburgh Festival Fringe

13th August 2025 | Edinburgh 2025, Review, Scotland
“Buen Camino,” Edinburgh Festival Fringe 2025

13th August 2025 | Edinburgh 2025, Review, Scotland, United States of America
Gotta Spoof ‘Em All: “Balls: The Monster-Catchin’ Musical Comedy” Parodies Pokémon in NYC

13th August 2025 | Musical Theatre, New York, United States of America
Tampere Theatre Festival 2025: Worlds in Miniature

11th August 2025 | Festivals, Finland, Review, Tampere Theatre Festival 2025
Flightless, Caged “Angels In America”

10th August 2025 | Poland, Review, Theatre and Science
Barcelona’s 2025 Grec Festival: “The Performing Arts as a Critical and Poetic Tool”

6th August 2025 | Festivals, Review, Spain
The TikTok-isation Of Theatre? – “Dziewczyna, Która Podeptała Chleb”

6th August 2025 | Poland, Review, Theatre and Religion
“Trilogia Cadela Força – Capítulo II: The Brotherhood.” Review. Holland Festival 2025.

6th August 2025 | Holland Festival 2025, Netherlands, Review
“From Dust.” Another Review. Holland Festival 2025.

6th August 2025 | Holland Festival 2025, Netherlands, Review, Theatre and AI
“From Dust.” Review. Holland Festival 2025.

6th August 2025 | Holland Festival 2025, Netherlands, Review, Theatre and AI
“Welcome to Asbestos Hall.” Review. Part II. Holland Festival 2025.

6th August 2025 | Holland Festival 2025, Netherlands, Review
“Welcome to Asbestos Hall.” Review. Part I. Holland Festival 2025.

6th August 2025 | Holland Festival 2025, Netherlands, Review
“Swan Song”: Between Prophecy and Epitaph

5th August 2025 | Adaptation, Azerbaijan, Review, Theatre and Politics
Mark Rosenblatt’s “Giant” in Barcelona

5th August 2025 | Festivals, Review, Spain
Who’s Afraid of the Public? Reports from the Daehangno X Forum on the Shut-Down of TheatreIn

4th August 2025 | Featured, Management, News, South Korea, Theatre and Gender, Theatre and Politics
Decolonizing Iraqi Theatre: Why We Need to Stop Quoting the West

3rd August 2025 | Essay, Iraq, Theatre and Decolonization
Jake Brunger’s Four Play at the King’s Head Theatre: Delicious Mix Of Laughter And Provocation In A Sex Comedy Of Manners

2nd August 2025 | London, Review, United Kingdom
Between Life And Death: A Festival’s Journey Through Tragedy [Part II]

1st August 2025 | Bulgaria, Festivals, Transcultural Collaborations
Between Life And Death: A Festival’s Journey Through Tragedy [Part I]

1st August 2025 | Bulgaria, Festivals, Transcultural Collaborations

July

An Exploration Through The Convoluted Layers Of “Blind Runner”

30th July 2025 | Review, Theatre and Politics, United States of America, Worldwide
Mark St Germain’s “Dancing Lessons” At Boulevard Münster In The Context Of The Ongoing Comedy Theatre Tradition In Germany

28th July 2025 | Germany, Management, Review
Ambiguous Space: A Review of the Chinese Play “L’histoire d’un Accident” at Avignon 2025

26th July 2025 | Avignon 2025, China, Chinese Theatre Abroad, Design, Review
Chinese Traditional Theatre in the UK: Interview with Joanna Zenghui Qiu on the 10th Anniversary of the UK Chinese Opera Association

24th July 2025 | China, Chinese Theatre Abroad, News, Theatre and Opera
“Pirates! The Penzance Musical.” An Exclusive Interview with Ramin Karimloo – The “glorious” Pirate King.

22nd July 2025 | Interview, Musical Theatre, United States of America
Romeo Castellucci’s “The Potato Eaters” at the Venice Theatre Biennale

20th July 2025 | Festivals, Immersive Theatre, Italy, Review
School Camp

19th July 2025 | Review, Theatre and Gender, United States of America
Willem Dafoe, Artistic Director Of The 2025 Theatre Biennale – 31 May To 15 June. The Opening Show: “Symphony Of Rats”

16th July 2025 | Festivals, Italy, Review, Transmedia, United States of America
29th International Shakespeare Festival runs in Gdańsk (Poland) from 25 July to 3 August

10th July 2025 | Festivals, News, Poland
Theatres In Tehran Rise From The Ruins Of The Iran-Israel War

10th July 2025 | Iran, News, Theatre and Politics
Annie Jin Wang on Opera Dramaturgy

10th July 2025 | Dramaturgy, Interview, Theatre and Opera, United States of America
Rock Opera and Musical Theatre. An exclusive interview with Lenny Kaye

7th July 2025 | Interview, Musical Theatre, Transcultural Collaborations, United States of America
George Bernard Shaw’s Mrs Warren’s Profession at the Garrick Theatre: Slimmed Down Revival Of A Classic About The Woman Question Stars Imelda Staunton

6th July 2025 | Playwriting, Review, Theatre and Gender, United Kingdom
“The Gilded Age” Season 3 Casting Secrets

6th July 2025 | Directing, Interview, Los Angeles, New York, News, Theatre and Film, United States of America
Off-Limits Love: Abby Rosebrock’s “Lowcountry,” A New Play at the Atlantic Theater

4th July 2025 | Review, Theatre and Politics, United States of America
Fix+Foxy’s “A Doll’s House” by Henrik Ibsen: A Playful Study in Radical Intimacy

2nd July 2025 | Adaptation, Denmark, Review

June

Curtain-Up in Taipei: A City Stages Its Own Tonys

28th June 2025 | News, Taiwan, Theatre and Politics
On Lone Borders: Juan Mayorga’s “Los Yugoslavos”

25th June 2025 | Review, Spain, Transcultural Collaborations
Exploring a Global Vision in the Sinosphere: An Interview with Katherine Chou, Chair of the World Sinophone Drama Competition for Young Playwrights

24th June 2025 | Interview, Playwriting, Taiwan
On Creativity, Labor, and Uncertainty: An Interview with Taiwanese Playwright Yu-Chia Wei

23rd June 2025 | Interview, Playwriting, Taiwan
Claire Dowie’s Why Is John Lennon Wearing a Skirt? at the Finborough Theatre: Pioneering Queer Theatre Artist Revisits Her Greatest Hits

19th June 2025 | LGBTQ+ Theatre, Review, United Kingdom
Terence Rattigan’s In Praise of Love at the Orange Tree Theatre: Rarely Revived 1973 Study Of Love In A Time Of Deception

17th June 2025 | London, Review, Theatre and Politics, United Kingdom
Creating History, Changing the Future, or Enslaved in Eternal Present: 70th Sterijino Pozorje Festival

13th June 2025 | Festivals, Review, Serbia
Man Out Of The Blue

10th June 2025 | Review, Theatre and Politics, United States of America
Doctor, Doctor, Doctor

8th June 2025 | Review, Theatre and Age, United States of America
Pandora`s Ritual: To “Kill My Darlings” On The Brink Of An Individual Existential Revolution

2nd June 2025 | Directing, Greece, Interview

May

Ekman / León-Lightfoot / Dawson – A Dance Evening of Excellence at Rome Opera House

31st May 2025 | Italy, Review, Theatre and Dance
Ubu Is The Symbol Of Rebellion Tyranny And Stupidity/Budget Cuts In Culture – A Serious Threat

23rd May 2025 | France, Interview, Theatre and Politics
”The Village”, Revolver Copenhagen

18th May 2025 | Denmark, Review, Theatre and Politics
“The Pillars of the Earth”: Bestseller and Musical. An Exclusive Interview with Ken Follett. Part II

16th May 2025 | Interview, Musical Theatre, Spain, United Kingdom
“Hamlet”, Teatro La Plaza, Barbican

15th May 2025 | Review, Theatre and Politics, United Kingdom
Catharsis in the Eleventh Row: The Aesthetics of Truth on Stage and an Audience That Is Not Afraid of the Dark

14th May 2025 | Essay, Festivals, Serbia
“Rhinoceros”, The Almeida Theatre

14th May 2025 | Review, Theatre and Politics, United Kingdom
The Theater of Metaverse

10th May 2025 | Essay, Festivals, Theatre and AI, Theatre and Science
Do Not Get Your Acting Degree So That You Can Become Part Of The Payroll, Only To Satisfy Your Appetites

9th May 2025 | Acting, Interview, Macedonia
A “Self-Portrait” By Davide Enia

8th May 2025 | Italy, Review, Theatre and Politics
“The Cherry Orchard” By Benedict Andrews: A Stark Mirror For A Collapsing Present

7th May 2025 | Review, Theatre and Politics, United States of America
Black and White. Aleksandr Volodin’s “Five Evenings,” directed by Eduard Tolokonnikov, produced by Polina Belkina, in New York City (March 20-30, May 28-June 15, 2025)

2nd May 2025 | Dramaturgy, Review, Russia, United States of America

April

Conor McPherson’s The Brightening Air at the Old Vic: Wonderfully Numinous And Eccentric Account Of Family Life In 1980s Rural Ireland

29th April 2025 | Ireland, Playwriting, Review, United Kingdom
A Play About Abortion – “Hypothetıcal Baby”

25th April 2025 | Canada, Review, Theatre and Gender
Five Young Performance Artists Unravel the Meaning of Tradition: A Review of “Practicing Freedom”

24th April 2025 | Review, South Korea, Transcultural Collaborations
Interview with Michael Salvatore Commendatore, Projection Designer for Disney’s Frozen at Children’s Theatre Company

22nd April 2025 | Interview, Musical Theatre, Theatre for Young Audiences, United States of America
Queer Surrealism in Two Sisters Find a Box of Lesbian Erotica in the Woods

20th April 2025 | LGBTQ+ Theatre, New York, Review
“Shards of Chaotic Memory in Multicoloured Ink”

16th April 2025 | Italy, Review, Theatre and Disability
Julia Grogan’s Playfight at the Soho Theatre: Superbly Punchy Teen Drama That Electrifies The Senses And Engages The Emotions

15th April 2025 | LGBTQ+ Theatre, Review, United Kingdom
Uncle Actor

12th April 2025 | Adaptation, New York, Review
Robert Icke’s Manhunt at the Royal Court Theatre: Terrifyingly Powerful Account Of Toxic Masculinity And Murderous Rage

11th April 2025 | Documentary Theatre, Dramaturgy, Review, United Kingdom
“Liberation.” Roundabout Theatre. Look Back to Know Where You Are

7th April 2025 | Review, Theatre and Gender, United States of America
Self-Ish Dramaturgy: Personal Practice At The Kennedy Center College Theatre Festival

6th April 2025 | Dramaturgy, Essay, Festivals
Violence Is Not Fate. Change Is Possible

3rd April 2025 | Playwriting, Theatre and Gender, Turkey
The Beauty of Cultural Specificity in “Bubble Schmeisis”

2nd April 2025 | New York, Review, Theatre and Religion
I Am Not Afraid For The Future Of The Theatre

2nd April 2025 | Croatia, Interview, Transcultural Collaborations, Translation
Underneath the Grass Roots

2nd April 2025 | New York, Review, Theatre and Art

March

Chris Fung’s “The Society for New Cuisine” at Omnibus Theatre: Exceptionally Powerful Monologue About Grief And Mental Torment

28th March 2025 | Acting, London, Review, United Kingdom
The Rebellious Power of “Liberation” at Roundabout Theatre Company

27th March 2025 | New York, Review, Theatre and Gender
Theatre “Haunts” People

26th March 2025 | Festivals, Interview, Playwriting, Romania
Nikoletta Soumelidis’s Spent at the Old Red Lion Theatre: Intriguing And Suggestive Exploration Of Gender Roles

21st March 2025 | London, Playwriting, Review, United Kingdom
Getting To an Emotional Truth With Padraic Lillis

19th March 2025 | Dramaturgy, Interview, Producing, United States of America
Brave New Theatrical World or One Flew Over the 21st Century’s Cuckoo’s Nest?: “Nexxt”

18th March 2025 | Directing, Review, Serbia
“The Pillars of the Earth”: The Evolution of Spanish Musical Theatre. An exclusive interview with Iván Macías. Part I

12th March 2025 | Interview, Musical Theatre, Spain
An Innovative “Romeo E Giulietta” In Milan

10th March 2025 | Directing, Italy, Review
Woman Is A Changeling: Redefining Femininity In “Maiden Mother Crone”

8th March 2025 | Review, Theatre and Gender, United States of America
Nick Payne’s One Day When We Were Young at Park Theatre: Time-Hopping Love Story Is Restrained By The Slenderness of the Plot

5th March 2025 | Acting, Playwriting, Review, United Kingdom
Victor’s Journey

5th March 2025 | Italy, Review, Theatre and Science
The Showcase Is To Feed From Academic Research And Knowledge, But It Is Hands-On Job Rather Than Dry Research

4th March 2025 | Interview, Theatre and Politics, Turkey
2024 Dublin Theatre Festival – Subjective Report [Part II]

4th March 2025 | Acting, Festivals, Ireland
2024 Dublin Theatre Festival – Subjective Report [Part I]

4th March 2025 | Acting, Festivals, Ireland
Bridging Worlds: Bahram Beyzaie’s “Naqqali Trilogy” Wins The 2024 ASTR Translation Award Prize

3rd March 2025 | Books, Iran, Playwriting, Translation
Review Of “Bernarda Albas Haus,” Deutsches Schauspielhaus Hamburg, Première 2 November 2024.

3rd March 2025 | Germany, Review, Theatre and Gender
Giuliana Musso Performs Franz Kafka’s “The Ape”

2nd March 2025 | Italy, Review, Theatre and Politics

February

Coral Wylie’s Lavender, Hyacinth, Violet, Yew at the Bush Theatre: Tender And Original Debut About The Black Queer Experience

26th February 2025 | London, Playwriting, Review, Theatre and Decolonization, United Kingdom
Laura Horton’s Lynn Faces at the New Diorama Theatre: Surreal Gig Theatre Event Explores Coercive Control Through Comedy

21st February 2025 | Playwriting, Review, Theatre and Gender, United Kingdom
Beyond the Canvas: The Art of Candida Alvarez

21st February 2025 | New York, Transmedia, United States of America
Polish-American Migrant Theatre: Teatr NASZ From Chicago On Tour In Florida

18th February 2025 | Poland, Transcultural Collaborations, United States of America
Language Is Leaving Me: A Cinematic AI Opera Of The Skin [Part II]

17th February 2025 | Interview, Theatre and AI, Theatre and Science, United States of America
“Language Is Leaving Me: A Cinematic AI Opera Of The Skin” [Part I]

16th February 2025 | Interview, Theatre and AI, Theatre and Science, United States of America
Playwriting Awards in Taiwan: Recognition and Reality

14th February 2025 | Essay, News, Playwriting, Taiwan
Show/Boat: A River Slashes Open an Old Classic

13th February 2025 | Musical Theatre, New York, Review
The Horror of Mundanity in NYTW’s A Knock On the Roof

13th February 2025 | New York, Review, Theatre and Politics
Dropping Balms

13th February 2025 | Review, Theatre and Politics, United States of America
Culture Belongs To Humanity! Not To The Armies

12th February 2025 | Greece, Interview, Theatre and Politics
Eline Arbo’s The Years At The Harold Pinter Theatre: Nobel Prize Winner Annie Ernaux’s Book Gets A Problematic West-End Staging

10th February 2025 | Adaptation, London, Review, United Kingdom
Getting Known

10th February 2025 | Directing, Review, United States of America
Тim Rice – 80: The Нero and His Many Anniversaries. Part II

7th February 2025 | Dramaturgy, Interview, Musical Theatre, United States of America
From Lawyer to Lyricist/Librettist: An Artist Profile of Jill Ohayon

7th February 2025 | China, Directing, Musical Theatre, United States of America, Worldwide
A Dystopian Sci-Fi: “Honey, I’m Home”

6th February 2025 | Canada, Review, Theatre and AI, Theatre and Science
There Is Nothing To Know About The Theatre, There Is Everything To Discover About Theatre

5th February 2025 | Playwriting, Slovenia, Theatre and Gender
Lucy Kirkwood’s “The Welkin” (“Empireo”) In Milan

4th February 2025 | Italy, Review, Theatre and Gender
A Canadian Epic: “Come From Away”

4th February 2025 | Canada, Review, Transcultural Collaborations, United States of America
Rameau reinvented: Peter Sellars stages “Castor et Pollux” at the Opéra National de Paris

3rd February 2025 | France, Review, Theatre and Opera
V4 Improv Connect: Empowering Cross-Border Collaboration And Growth (Project And Network) [Part II]

2nd February 2025 | Acting, Interview, Transcultural Collaborations
V4 Improv Connect: Empowering Cross-Border Collaboration And Growth (Project And Network) [Part I]

2nd February 2025 | Acting, Interview, Transcultural Collaborations

January

Europe As a Beautiful Mess: An Interview with Heidi Wiley, Executive Director of ETC

26th January 2025 | Interview, Producing, Theatre and Politics
The Visit

24th January 2025 | Immersive Theatre, Italy, Review
Philip Ridley’s Tarantula at the Arcola Theatre: Blazingly Emotive And Beautifully Poetic Account Of Trauma From A Master Penman

22nd January 2025 | Covid-19, London, Playwriting, Review, United Kingdom
Disability, Kink, and Joy as Resistance in The Dan Daw Show

22nd January 2025 | New York, Review, Theatre and Disability
Roy Williams’s The Lonely Londoners at the Kiln Theatre: Superb Stage Adaptation Of The Classic Sam Selvon Windrush Novel

20th January 2025 | Adaptation, London, Review, Theatre and Decolonization, United Kingdom
Sitting Down with Theater Artist Kate Rankine

17th January 2025 | Interview, Musical Theatre, New York
A Feline Farewell: “MEOW!” Excavates Americana at Exponential Fest

15th January 2025 | Festivals, Interview, New York, United States of America
The Fire This Time Festival Enters Its 16th Year

7th January 2025 | Interview, New York, Playwriting

December

The Beginnings of Theatre in Iraq

31st December 2024 | Essay, Iraq, Theatre and Politics
From Hunting Ritual to Installation Art: Tianzhuo Chen and Siko Setyanto’s “Ocean Cage”

31st December 2024 | Immersive Theatre, Indonesia, Japan, Kyoto Experiment 2024, Review
Тim Rice – 80: The Hero and His Many Anniversaries. Part I

30th December 2024 | Dramaturgy, Interview, Musical Theatre, United States of America
Filmmaker David Trueba’s theatre debut: “Los guapos/The Handsome Ones”

23rd December 2024 | Review, Spain
“1936”: Andrés Lima puts the Spanish Civil War on Stage

23rd December 2024 | Review, Spain
Humankind’s Search for the Living in Shinichi Anasako and Pijin Neji’s “Stand by Me”

23rd December 2024 | Japan, Kyoto Experiment 2024, Review
David McVicar’s new “Maria Stuarda” at Madrid’s Teatro Real

22nd December 2024 | Review, Spain, Theatre and Opera
Nanako Matsumoto and Anchi Lin (Ciwas Tahos) Trekking Mountains

19th December 2024 | Japan, Kyoto Experiment 2024, LGBTQ+ Theatre, Review, Taiwan
“No Power for the Electric Chair ” – Crime of Theatrical Absurd

16th December 2024 | Directing, Macedonia, Review
(LA)HORDE’s Flash Mob Revolution

13th December 2024 | France, Japan, Kyoto Experiment 2024, Review
Melati Suryodarmo and Alessandro Sciarroni Moving Within Patriarchy

12th December 2024 | Indonesia, Italy, Japan, Kyoto Experiment 2024, Review
“We Live in Cairo”-Off-Broadway

10th December 2024 | Musical Theatre, New York, Review, Theatre and Politics
“DRAG: The Musical.” An exclusive interview with Alaska Thunderfuck

9th December 2024 | Interview, LGBTQ+ Theatre, Musical Theatre, New York, United States of America
Big Bang Professional Week, Temporada Alta Fights Against ‘Mierda Bonita’

9th December 2024 | Festivals, News, Spain
On Kyoto Experiment’s Curatorial Vision

5th December 2024 | Festivals, Japan, Kyoto Experiment 2024, Management, News
Peter J. Chelkowski: A Life of Scholarship And Cultural Exchange

4th December 2024 | Interview, Iran, Poland, Transcultural Collaborations
Six Against Turkey – We Are All a Little Turkish

3rd December 2024 | Kosovo, Kosovo Albania Theatre Showcase 2024, Review, Theatre and Politics
Fruiting Body: What Mushroom-To-Human Conversations Reveal In A New Off-Broadway Play

3rd December 2024 | Festivals, Review, Theatre and Science, United States of America
“Dear Shameless Death – Dirmit” by Tiyatro Hemhâl: A Gift of Resistance

2nd December 2024 | Edinburgh 2024, Festivals, Review, Turkey, United Kingdom

November

The Revolutionary Spirit is Alive in “We Live in Cairo”

27th November 2024 | Musical Theatre, New York, Review, United States of America
The Images of Me: 2024 Prologue New Play Festival

25th November 2024 | Festivals, News, Taiwan
“Flower Sajza” at The National Experimental Theater of Tirana- Kosovo Albania Theatre Showcase

18th November 2024 | Documentary Theatre, Kosovo, Kosovo Albania Theatre Showcase 2024, Review
“How I Learned To Drive” – Heartefact Fund at the Kosovo Albania Theatre Showcase

18th November 2024 | Kosovo, Kosovo Albania Theatre Showcase 2024, Review, Serbia, Theatre and Gender
The Kosovo Albania Theatre Showcase 2024 – A Review of “The Internationals”

17th November 2024 | Kosovo, Kosovo Albania Theatre Showcase 2024, Review
Starlight Express The Musical: 40 Years in The Orbit

14th November 2024 | Europe, Germany, Interview, Musical Theatre, Review
Capitalism Meets Austerity in Àlex Rigola’s “Glengarry Glen Ross”

11th November 2024 | Review, Spain
Chela De Ferrari’s “The Seagull”: Theatre, Identity and Unrequited Love

10th November 2024 | Review, Spain
Shakespeare In Iraq: An Interview With Dr. Samir Talib

9th November 2024 | Interview, Iraq, Theatre and Politics
The Many Monsters of Ars Nova’s “The Beastiary”

7th November 2024 | New York, Puppetry, Review, United States of America
“Kafkaesque!” A Musical That Is As Hilarious As It Is, Well, Kafkaesque

5th November 2024 | Musical Theatre, New York, Review, United States of America
Ché Walker’s Burnt-Up Love at the Finborough Theatre: Crime and Redemption In A Shining Gem Of A Show

1st November 2024 | London, Playwriting, Review, United Kingdom

October

“Ghosts of My House” In İstanbul: A Contemporary Canadian Play Out Of Context Or Domesticating Whiteness

31st October 2024 | Review, Theatre and Politics, Turkey
“1981” directed by Tomi Janežič at Novi Sad Theatre

30th October 2024 | Acting, Directing, Review, Serbia
Director Laura Jones’ Career-Long Exploration Of Beckett Concludes With “Godot”

26th October 2024 | Essay, Review, United States of America
Trans Joy in The Christine Jorgensen Show

25th October 2024 | LGBTQ+ Theatre, New York, Review, United States of America
“Tattooer” At Atelier Shunpusha: “Tattooer” Reworks Tanizaki’s Japanese Tale Of Desire And Power With Subtlety And Verve

23rd October 2024 | Japan, Review, Theatre and Gender, United Kingdom
Regional Producing Theatres In England. Leeds Playhouse: A Case Study

22nd October 2024 | Essay, Management, United Kingdom
Deep Thoughts on Deep History at The Public Theater

22nd October 2024 | New York, Review, Theatre and Science, United States of America
“In The Name Of Profit” At Fringe Milano Off

20th October 2024 | Festivals, Italy, Review
Robert Icke’s Oedipus at Wyndham’s Theatre: Lots Of Stunning Acting Compensates For Some Questionable Writing

20th October 2024 | Adaptation, London, Review, United Kingdom
Trauma In Translation: Stratford’s Milestone Salesman In China

19th October 2024 | Canada, China, Review, Theatre and Politics
Electrifying Ensemble Performance and Political Satire in New Māori Play: “Unreel” by Helen Pearse-Otene

15th October 2024 | Education, New Zealand, Review, Theatre and Decolonization
“Paisatges Compartits (Shared Landscapes)”, A Pleasant Day of Theatrical Land Art

15th October 2024 | Festivals, Review, Spain
La Vie En Sickly Rose: Florian Zeller’s “The Son” at the German State Theatre

13th October 2024 | Review, Romania, Theatre and Politics
“Eréndira”: Show Business As Usual

12th October 2024 | Review, Romania
Theatrical Tectonics: The Slowdown Entertainment of a José Rivera Play

11th October 2024 | Review, Romania
“Border” And “Sheol/שאול” – Wachowicz/Fret Studio At Edinburgh Festival Fringe 2024

10th October 2024 | Edinburgh 2024, Poland, Review, United Kingdom
On State Theatres and Minoritarian Theatres: Interview with Andrea Wolfer, Head of the Dramaturgy and PR Department of the German State Theatre in Timișoara, Romania

9th October 2024 | Interview, Romania, Theatre and Politics
Meet ONG Keng Sen, the Artistic Director of Singapore’s T:>Works and Keynote Speaker at the 2024 Singapore Literature Festival in NYC

9th October 2024 | Adaptation, Festivals, Interview, Singapore
Mozart! The Gem of European Musical Theatre

8th October 2024 | Austria, Interview, Musical Theatre
Mark Rosenblatt’s Giant at the Royal Court: Provocative Drama About Anti-Semitism Is A Superb Play Of Ideas

7th October 2024 | Books, Review, Theatre and Politics, United Kingdom
The Perils of Parody in Forbidden Broadway: Merrily We Stole A Song

2nd October 2024 | Musical Theatre, New York, Review, United States of America
Pari Saberi: A Pioneering Woman In Iranian Theatre Passes Away At 92

1st October 2024 | Iran, News, Theatre and Gender

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