Encountering Indonesia At AsiaTOPA (Part 2)
This is the second in a two-part series by Barbara Hatley. Read Part 1 here. Reflections on...
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Encountering Indonesia At AsiaTOPA 2017 (Part 1)
This is the first in a two-part series by Barbara Hatley. Read Part 2 here. Indonesian...
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Theatre And Immersion: “You Enter Yourself Into This Space”
Immersion means experiencing. What does this mean for the theatre? Thomas Oberender, Artistic...
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For The Love Of The Game: “Peh LO Tah” at BAM
Beginning with the soccer ball, Marc Bamuthi Joseph moves to the left and to the right, shifting a...
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Tale Of A Wounded Soul
This year’s winner at Mohan Rakesh Samman Evam Natya Samaroh, Ghanshyam Kumar Devansh’s Hastinapur...
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“A Doll’s House” at Circa One
POTENTLY RELEVANT Warning: I’m about to give the (well-known) ending away because the play can’t...
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Kosovo Actors Demand Higher Salaries
The Ministry of Culture said that actors’ salaries will be raised by January of next year after...
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The “Motherline” Project Honors The Stories Of Women With Depth And Diversity
After starting in New York, the storytelling performance made its international debut in Cairo,...
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“Tiny Beautiful Things” at The Public Theatre
Dear Dust Man, I’m an avid theatergoer who missed seeing Nia Vardalos’s stage adaptation of Cheryl...
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“The Revolutionists”: How Far Have We Come?
The Nora Theatre Company at the Central Square Theatre in Cambridge, MA is currently...
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“Minefield” Review: Stories From The Soldiers
Every soldier has a story to tell–sometimes a joke, sometimes a parable, often a tragedy. The...
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Bobi Pricop And The Empathetic Theatre
Each year, the Romanian higher education system supplies, through its art universities with their...
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“The Exorcist” On Stage: ‘I Don’t Think Our Vomit Is Going To Be Green’
“Whenever I tell anybody I’m doing an adaptation of The Exorcist, the first question is: ‘Will the...
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A Suitcase Packed With Stories: James Ngcobo’s New Play
The audience members were vocal in their approval from start to finish with Es’kia...
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“Young Marx” at Bridge Theatre
Given the rather uneven record of the National Theatre at the moment, there’s already a certain...
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Why The Way Race Is Cast On Stage And Screen Needs To Change
When news of Rapture Theatre’s 2017 production of Tennessee Williams’ classic play A Streetcar...
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“One The Bear” (La Boite) New Transmedia Storytelling
In true international award-winning Black Honey Company style, One The Bear bursts on the...
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“Witness For The Prosecution” at London County Hall
Some site-specific theatre feels like a really good fit. You could say, in this case, that it...
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Dramaturgical Leadership And The Politics Of Appeal In Commercial Theatre
In an early scene of Rick Elice’s irreverent Peter Pan prequel, Peter And The Starcatcher, the...
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At The Intersection Of Disabled And Working Class, An Interview With Jackie Hagan
Jackie Hagan: In Skem (Skelmersdale) there’s no class system, just people with slightly nicer...
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