Latest Archives - Page 208 of 278

“A River All Red” And “The Phoenix Returns Home” By The China National Peking Opera Company At London’s Sadler’s Wells

Posted by Letizia Fusini | 5th Nov 2017 | China, Chinese Theatre Abroad, London, Review, Theatre and Opera, United Kingdom

Founded in 1955 by the renowned Chinese theatre star Mei Lanfang, the China National Peking Opera...

Access All Arias: “Sex Workers’ Opera” Takes Swipe at No More Page 3 Feminists

Posted by Katie Grant | 5th Nov 2017 | Theatre and Gender, Theatre and Opera, United Kingdom

It’s known as the world’s oldest profession yet, for the most part, sex work remains shrouded in...

Interview With Heidi Wiley On The Creation Of European Theatre Convention (ETC)

Posted by The Theatre Times | 4th Nov 2017 | Germany, Interview, Management, Transcultural Collaborations, Ukraine

Heidi Wiley: With the creation of ETC, its founders wanted to establish a new form for...

“The Mecca Tales” in New York

Posted by Jack Wernick | 4th Nov 2017 | New York, Review, Transcultural Collaborations, United States of America

The Mecca Tales is an essential new work of theatre by emerging Chicago-based playwright Rohina...

Dana Michel’s “Mercurial George” – Illegibility, Identity, Blackness

Posted by Anh Vo | 3rd Nov 2017 | Canada, Festivals, Review, Theatre and Dance

Illegibility, Identity, Blackness The lack of black choreographers/ black voices in Contemporary...

Politics, Human Rights And Social Activism: “Pista Rizalina” At The Cultural Center Of The Philippines

Posted by Sir Anril Pineda Tiatco | 3rd Nov 2017 | Festivals, Philippines, Review, Theatre and Politics

On September 21, 1972, then President Ferdinand Marcos declared Martial Law via Presidential...

What Comes After The Flight? Theatre and Migrant Life in Germany

Posted by Jürgen Berger | 2nd Nov 2017 | Germany, Theatre and Politics

The programmes of the 2017/2018 season are still defined by the theme complex “Migrant Life in...

David Greenspan Dazzles In One-Man “Strange Interlude”

Posted by Jessica Rizzo | 2nd Nov 2017 | Adaptation, New York, Review, United States of America

After his one visit to the country in 1909, Sigmund Freud reportedly remarked to a friend that...

Family, Latinidad, and Queerness Coalesce In Marga Gomez’s “Latin Standards”

Posted by Trevor Boffone | 2nd Nov 2017 | LGBTQ+ Theatre, Playwriting, Review, United States of America

Marga Gomez began her career in San Francisco’s gay comedy clubs in the mid-1980s, including the...

Interview With Fanny Gautier: Exit(o) Madrid

Posted by Carrie Klewin Lawrence | 2nd Nov 2017 | Acting, Interview, Spain

Fanny Gautier, star of stage, television, and film, gives some insight into succeeding as a...

TotoToo’s production of “Bent” – On Being Gay in Nazi Germany

Posted by Jamie Portman | 1st Nov 2017 | Canada, LGBTQ+ Theatre, Review, Theatre and Politics

There are moments in TotoToo’s production of Bent that are as good as anything that this...

“Provoking Theater: Kama Ginkas Directs” An Excerpt

Posted by Kama Ginkas and John Freedman | 1st Nov 2017 | Books, Directing, Essay, Kama Ginkas Black Monk, Russia

Excerpted and adapted from the book Provoking Theater: Kama Ginkas Directs by Kama Ginkas and John...

Big Bang: “Germinal” Creates a Universe Out of Nothing On Stage

Posted by Jana Perkovic | 1st Nov 2017 | Australia, Festivals, Melbourne, Playwriting, Review

In theatre-making, we often talk about world creation. “What is the world of the play?” teachers...

“Saint George and the Dragon” at The National Theatre

Posted by Aleks Sierz | 1st Nov 2017 | London, Playwriting, Review, United Kingdom

In Bertolt Brecht’s Life of Galileo (1943), there’s a typically didactic exchange: Andrea, the...

Is VR the Future Of Live Performance?

Posted by Augusto Esteves | 31st Oct 2017 | Transmedia, United States of America

What do Coldplay, Stevie Wonder, and the Imagine Dragons all have in common? The answer, and well...

A New Adaptation of Kalidasa’s “Shakuntala” – A Soul Stirring Experience

Posted by Diwan Singh Bajeli | 31st Oct 2017 | Adaptation, India, Review

Chandradasan’s adaptation of Shakuntalam, staged at the National School of Drama, had a...

Mike Bartlett’s “Albion” at Almeida Theatre

Posted by Aleks Sierz | 31st Oct 2017 | London, Playwriting, Review, United Kingdom

Prolific writer Mike Bartlett is the most impressive penman to have emerged in British theatre in...

A Closer Look: The Russia/U.S. Playwright Exchange

Posted by Evgeny Kazachkov and Sasha Sharova | 31st Oct 2017 | Interview, Playwriting, Russia

On October 6 and 7, 2017, The Lark hosted The Russia/U.S. Playwright Exchange, in partnership with...

David Greenspan’s One-Man, 6-Hour Performance of Eugene O’Neill’s “Strange Interlude”

Posted by Jonathan Kalb | 30th Oct 2017 | Acting, Review, United States of America

The most interesting question about David Greenspan’s one-man, 6-hour performance of Eugene...

Life In The West End’s Second Best Historical Musical “The End of History”

Posted by Iain Hollingshead | 30th Oct 2017 | London, Musical Theatre, Review, Theatre and Politics, United Kingdom

Last month, 1,601 people were left disappointed by the news that Hamilton, the American musical...

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Latest

“A River All Red” And “The Phoenix Returns Home” By The China National Peking Opera Company At London’s Sadler’s Wells

Access All Arias: “Sex Workers’ Opera” Takes Swipe at No More Page 3 Feminists

Interview With Heidi Wiley On The Creation Of European Theatre Convention (ETC)

“The Mecca Tales” in New York

Dana Michel’s “Mercurial George” – Illegibility, Identity, Blackness

What Comes After The Flight? Theatre and Migrant Life in Germany

David Greenspan Dazzles In One-Man “Strange Interlude”

Family, Latinidad, and Queerness Coalesce In Marga Gomez’s “Latin Standards”

Interview With Fanny Gautier: Exit(o) Madrid

TotoToo’s production of “Bent” – On Being Gay in Nazi Germany

“Provoking Theater: Kama Ginkas Directs” An Excerpt

Big Bang: “Germinal” Creates a Universe Out of Nothing On Stage

“Saint George and the Dragon” at The National Theatre

Is VR the Future Of Live Performance?

A New Adaptation of Kalidasa’s “Shakuntala” – A Soul Stirring Experience

Mike Bartlett’s “Albion” at Almeida Theatre

A Closer Look: The Russia/U.S. Playwright Exchange

David Greenspan’s One-Man, 6-Hour Performance of Eugene O’Neill’s “Strange Interlude”

Life In The West End’s Second Best Historical Musical “The End of History”

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