Argentine Playwright Is Bold and Real in Two One-Acts
It’s good to be shaken off our predictable paths, and Ithaca’s Cherry Arts productions do that...
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Paula Marull’s “Yo no duermo la siesta” Delights Audiences at the Espacio Callejón
When Prince Charming shows up on a dilapidated motorcycle in the middle of the night, seemingly...
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Changing Theatre Landscape in Germany
The crisis of German municipal theatre is a matter of concern for the art sections of newspapers,...
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Walter Byongsok Chon on Dramaturgy: Interview with LMD
Walter Byongsok Chon is an assistant professor of dramaturgy and theatre studies at Ithaca...
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Branden Jacobs-Jenkins’s “An Octoroon” In London
This is phenomenal. And pretty wild. Branden Jacobs-Jenkins’s An Octoroon at the Orange Tree...
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“Malah Toli” – A Gripping Portrayal of The Struggle of Three Women Against Feudal Oppression
The play Malah Toli, which was presented last month by Hindi Rangbhoomi at Shri Ram Centre this...
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Paul Mason’s Revolutionary New Play, “Why It’s Kicking Off Everywhere”
Paul Mason has been expanding his portfolio of late. The former economics editor of Channel 4 News...
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An Interview with Dorothea Marcus and Till Briegleb, Two Jury Members of the Berlin Theatre Meeting
An interview with Dorothea Marcus and Till Briegleb, two jury members of the Berlin Theatre...
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“Isale Eko”: One Powerful Play About The History of Lagos
A perfect blend of light, colours and humour. That is one of the most outstanding features of...
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How Theatre Can Help Us Understand Donald Trump and Brexit
When it comes to the chaotic policies of Donald Trump or the seeming irrationality of Brexit,...
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Discipline and Perform: A Preview of Wig in a Box’s “Docile Bodies”
Adapted from Michel Foucault’s seminal text Discipline and Punish, the collaboratively-written and...
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To Stay or Not to Stay? That is The Question Posed by “Made in Mexico”
Made in Mexico, an adaptation of Made in Lanús (1986) by Argentinian writer Nelly Fernández...
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New Adaptation of “Woyzeck” at Old Vic
Welcome back, John Boyega. Less than a decade ago, he was an unknown budding British stage actor,...
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Sense of Crisis: An Interview with Robert Schenkkan
Robert Schenkkan first came to national prominence in 1992, when his epic play The Kentucky Cycle...
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The Fate of Women in “La Femme Bohème”
While most scholars addressing issues of feminism in opera focus on the fate of women in opera...
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Hidden Door: The Festival Turning Edinburgh’s Forgotten Spaces Into Creative Hubs
For 28 years, Edinburgh’s Leith Theatre was left derelict and decaying. Now, it’s being brought...
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Foreignness and Familiarity: An Interview with Dmitry Troyanovsky
Dmitry Troyanovsky, currently Assistant Professor of Theater Arts at Brandeis University, is a...
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“The Ugly One”: Examining the Instability of Identity with Brevity and Wit
An American Director and His Chinese Actors Tackle Contemporary German Theatre in Shanghai
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“Mr Burns”: Post-Apocalyptic Simpsons Musical Shows Theatre’s Future Is Dazzling
There has been a nuclear event. The grid is down. The radio is out. Most are dead, and those who...
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Lucy McCormick’s “Triple Threat” Is The Nativity Reimagined, With LGBT Club Culture, Vibrators, And Lady Gaga
Most of us have begrudgingly sat through a nativity play; feigned interest as a nephew plays...
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