In 2023, Malaysian actor Michelle Yeoh won the Best Actress Oscar for her performance in...
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The Queen of Versailles. A New Musical will officially open on Broadway, at the St. James Theatre...
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Sein oder nicht sein is a play by Nick Whitby (b.1963), premiered on Broadway in 2008, and first...
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Weird scenes inside the farmhouse; weird scenes in Northern Ireland; weird scenes of the 1980s....
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This six-hour production of Hamlet took Shakespeare’s play as the starting and end point, in...
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The Flowers of Srebrenica should be impossible to stage. Irish academic Aidan Hehir’s book, a...
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The Royal Court, Britain’s premiere new writing venue, celebrates its platinum anniversary next...
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The Terrence McNally/Stephen Flaherty/Lynn Ahrens musical Ragtime is not the subtlest theater...
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In All Right. Good Night., German docu-theater artist Helgard Haug turns loss into a language. The...
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Absurd as it may seem, Samuel Beckett’s Waiting for Godot, a demanding play about existential...
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When I was four years old, I asked my parents for piano lessons. We always had a piano in the...
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The small district of Schnoor in the northern German city of Bremen, consisting of some 100...
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Among the most depressing facets of Donald Trump’s pathology is how all-consuming his hunger for...
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Broken Britain has a big problem with youth. About a million of those aged 16 to 24 are NEETs (not...
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“By the term theatre we do not only mean its expressive linguistic side, but also the cultural,...
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The Cairo International Festival for Experimental Theater (CIFET) has long been a vital platform for the boundary-pushing theatrical voices in the Arab world, and beyond. Recently, debates have emerged over whether to keep “experimental” in its name, as the festival faces pressure to broaden its scope and attract wider audiences. The question now is how to balance honoring the festival’s experimental roots while evolving to meet the changing theatrical landscape of the 21st century.
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Perhaps it’s an indicator of the feebleness of new writing after the pandemic that so many of the...
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With minimal décor and symbolism in every gesture, The Mutt — an adaptation of Dostoevsky’s The...
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Collective interview with Amy Sze (Theatre maker and arts producer, London, UK-Hong Kong), Mia...
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Interview with Sandra Gribovska Ilievska, theatre actress, Bitola, R. Macedonia Sandra Gribovska...
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James Graham’s “Punch” at the Apollo Theatre:… 30th September 2025 
“Lale Lili Marleen:” The Promising… 10th October 2025 
“Tired” Of Consuming Postdramatic… 31st August 2025 
Debating Identity: Is It Time to Rename Cairo’s… 26th September 2025 
Decolonizing Iraqi Theatre: Why We Need to Stop… 3rd August 2025