Violence Is Not Fate. Change Is Possible
Turkish writer, theatre critic, and academic Zehra İpşiroğlu’s book Woman Plays features...
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The Beauty of Cultural Specificity in “Bubble Schmeisis”
The room is thick with steam (ok, it’s smoke machine smoke), an accordion and clarinet cycle...
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I Am Not Afraid For The Future Of The Theatre
An Interview with Ms. Zeljka Turcinovic – dramaturg, editor of magazines: Croatian Theatre and...
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Underneath the Grass Roots
Alice Childress has been having a moment the past few years. This extraordinary Black playwright,...
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Chris Fung’s “The Society for New Cuisine” at Omnibus Theatre: Exceptionally Powerful Monologue About Grief And Mental Torment
Anxiety. Apprehension. Angst even. Yes, that’s the feeling that rises in me as I come into the...
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The Rebellious Power of “Liberation” at Roundabout Theatre Company
Much like the women it centers on, Roundabout Theatre Company’s Liberation is rebellious and not...
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Theatre “Haunts” People
An Interview with Mr. Horia Gârbea – Playwright, dramaturg, translator, Bucaresti, Romania Horia...
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Nikoletta Soumelidis’s Spent at the Old Red Lion Theatre: Intriguing And Suggestive Exploration Of Gender Roles
One of the joys of contemporary playwriting is its openness to flexible casting. In Ruby Thomas’s...
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Getting To an Emotional Truth With Padraic Lillis
Getting to the truth – the emotional truth and understanding. I think emotion more than ideology. It resonates with us is how we feel. I can understand that we can be in conflict, I have an emotional connection to both sides of an emotional argument. I not only resonate and feel seen, then I have a better understanding of the person whose thought was in opposition of me.
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Brave New Theatrical World or One Flew Over the 21st Century’s Cuckoo’s Nest?: “Nexxt”
The theatrical kamikaze that destroys all the mechanisms of the world and itself—that is, theatre...
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“The Pillars of the Earth”: The Evolution of Spanish Musical Theatre. An exclusive interview with Iván Macías. Part I
In November 2024, the world premiere of a new musical by composer Iván Macías, The Pillars of the...
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An Innovative “Romeo E Giulietta” In Milan
In February I caught Antonio Syxty’s staging of Romeo e Giulietta (Romeo and Juliet) at Milan’s...
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Woman Is A Changeling: Redefining Femininity In “Maiden Mother Crone”
But a woman is a changeling, always shifting shape Just when you think you have it figured out...
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Nick Payne’s One Day When We Were Young at Park Theatre: Time-Hopping Love Story Is Restrained By The Slenderness of the Plot
How long would you wait for your soulmate? In “The Demon Lover”, a short story by Elizabeth Bowen,...
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Victor’s Journey
Rarely have I spent such an intense ninety minutes watching a show, as I did the other evening at...
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The Showcase Is To Feed From Academic Research And Knowledge, But It Is Hands-On Job Rather Than Dry Research
Interview with Handan Salta – co-founder of the Istanbul Theatre Showcase – TheatreIST, theatre...
Read More![2024 Dublin Theatre Festival – Subjective Report [Part II]](https://thetheatretimes.com/wp-content/uploads/2025/03/Picture5-627x376.jpg)
2024 Dublin Theatre Festival – Subjective Report [Part II]
To read PART I of this report, go to this link. The line of Irish productions at 2024...
Read More![2024 Dublin Theatre Festival – Subjective Report [Part I]](https://thetheatretimes.com/wp-content/uploads/2025/03/Picture2-627x376.jpg)
2024 Dublin Theatre Festival – Subjective Report [Part I]
My carefully planned visit to the 2024 Dublin Theatre Festival started and ended in unexpected...
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Bridging Worlds: Bahram Beyzaie’s “Naqqali Trilogy” Wins The 2024 ASTR Translation Award Prize
In November, the American Society for Theatre Research (ASTR) awarded the 2024 Translation Prize...
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Review Of “Bernarda Albas Haus,” Deutsches Schauspielhaus Hamburg, Première 2 November 2024.
Interpretations in cultures and languages external to Spain have been integral to the survival of...
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