“Dorian the Musical:” This Rock Adaptation Of Oscar Wilde’s Classic Missteps At Every Turn
In the preface to The Picture of Dorian Gray (1890), Oscar Wilde wrote: “There is no such thing as...
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Jordan Cheng: The Genial Striver Of Hong Kong Musical Theatre
Is Jordan Cheng for real? The 37-year-old actor, singer, and composer is everywhere these days....
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52nd Venice Theatre Biennale (15-30 June). Tim Crouch’s “Truth’s A Dog Must To Kennel”
After Brexit, UK productions very rarely play in Italy, but Biennale theatre directors Gianni...
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Miss Julie: Amy Ng Brings A “Problem Play” To Hong Kong
Amy Ng has a problem. The Hong Kong-raised, London-based playwright is holed up in a Causeway Bay...
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At This Year’s Rising Festival, I Was Most Excited By The New And Unexpected Audiences
Rising situates itself as a festival of new art, performance and music that takes place in the...
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Sydney Theatre Company’s “Dracula”: A Virtuosic Performance, Sexy Staging, And A Queer Rewriting
The figure of Dracula has always lived somewhere between the written word, screen projections and...
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Make Your Classroom Multilingual: On Training Students For Rapidly Changing Cultural Landscapes
How do we train students to work within rapidly changing landscapes and for a theatre of the...
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“Cats”: The Jellicle Ball is near Purrfect
Alright, I’ll level with you. Maligned as it is (and oh is it ever) Andrew Lloyd Webber’s 1982...
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New Buds on a Fertile Island: New Play Development in Taiwan, Part 1
New writing stretches the boundaries of theatre arts. Though writing may seem a solitary...
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New Buds on a Fertile Island: New Play Development in Taiwan, Part 2
To read PART I of this essay, go to this link. Prologue Center for New Plays Having worked...
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Adelaide Cabaret Festival Understands How Its Audiences Long For Connection and Community
Now in its 24th year, the Adelaide Cabaret Festival’s annual celebration of all things cabaret...
Read More![Medea as a Border-Body [Part I]](https://thetheatretimes.com/wp-content/uploads/2024/06/Image-2-627x376.jpg.webp)
Medea as a Border-Body [Part I]
Perhaps the 2024 production of La MaMa’s Medea, under Zishan Ugurlu’s direction and reimagining,...
Read MoreMedea as a Border-Body [Part II]
To read PART I of this essay, go to this link. The snake that Medea uses to make her...
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Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 1.
I first encountered Dmytro Ternoviy through my Worldwide Ukrainian Play Readings project. His...
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Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 2.
This is Part 2 of the interview with Dmytro Ternoviy. For Part 1, go here. Dmytro Ternoviy’s...
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At the Intersection of Interactive Mediums: “DIRT” Blends Games and Theater at The Tank
Do you ever wish you could have a say in how your city developed its land? Well, this month, New...
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“Invisible Lands,” Bodies, Gods, and… People
Invisible Lands, a two-performer act, initially presents itself as a nonverbal production with...
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Post-Colonial B-Horror: “The Visitors” at Volksbühne Berlin
This summer, Berlin’s Volksbühne presented The Visitors, a new work by the choreographer Constanza...
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The Bounds, Royal Court
Every day this week I’m watching a football match, and now — after April’s production of Lydia...
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