Orange Noyées’s “8” Addresses Pressing Issues and Fears of Today
On November 8, 2016, America elected its 45thPresident, Donald Trump, whose political forays,...
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Interview With Rabih Mroué: Micro-Narratives, The Immediacy Of Time, And Audience Perception
In this interview, Rabih Mroué talks about micro-narratives, the ability of theatre to enact a...
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Theatre Review: Matei Visniec’s “What Shall We Do With The Cello?”–The Self-Versus-Everyone Of The Communist Era
In a way, communism has always been playing on the masses. There are endless things hidden within...
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Rebuilding the Public Theatre: The Black Tent Project in Gwanghwamun Square
On January 8th, a group of artists and activists erected a large tent in Gwanghwamun Square and...
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Karna is Not Black or White but a Mortal: Interview with Bangladeshi director Jayita Mahahlanobish
Showing Kunti’s first born in a different light, young Bangladeshi director Jayita Mahahlanobish...
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Kortárs Drámafesztivál: In the Heart of Budapest’s Stage
The Kortárs Drámafesztivál (contemporary theatre festival) in Budapest has just celebrated its...
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Theatre Review: Chekhov’s “The Seagull” (Hemar Theatre) At Ognisko Polskie
Ognisko Polskie, the Polish Hearth Club, is an exquisite venue: glistening chandeliers please the...
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“Oh Boy!”: From Champigny to Broadway
Following the U.S. premiere of Oh Boy! on Broadway, at the Duke on 42nd Street presented by the...
Read MoreSagi-ryū: The Elusive Third School of Kyōgen
Today, if you bring up the topic of the traditional Japanese comedic performing art, kyōgen, chances are the conversation you will have will revolve around either the activities of the professional Ōkura (大蔵) or Izumi (和泉)...
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“Unknown” Polish Directors: Anna Augustynowicz
This series will introduce Polish directors whose work is recognised in Poland, but they are...
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The Things We Carry: Geoff Sobelle’s “The Object Lesson”
“Do your things spark joy?” That (to some, risibly) simple question, and her runaway 2014...
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Le Mouffetard, A Place For Puppetry In A Unique Parisian Neighborhood
If you go through any travel guide for Paris, you will definitely find rue Mouffetard among the...
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A Report From the 2016 Divine Comedy Festival
The International Divine Comedy Festival (Boska Komedia), in Kraków has grown, over nearly a...
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Mary Zimmerman Directs “Rusalka” at The Met
Antonín Dvořák’s classic story of a water nymph opened at the Met on February 2. Seeing...
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“Macbeth” Brings Double, Double, Toil and Trouble From DR Congo
Third World Bunfight‘s Macbeth has been touring around the world since its premiere in Cape Town...
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Russia’s Mariinsky and Maly Drama Theaters to Perform in Washington
Russia’s two theater companies from St. Petersburg are beginning a series of performances in...
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Shakespeare’s Globe Emma Rice Bows Out With Defiant Political Season
Emma Rice, the artistic director of Shakespeare’s Globe ousted for introducing modern sound and...
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Joyous, Comic and Grim: The Best New Indigenous Playwrights
“Yellamundie” is a Darug word for storyteller, and the name of a biennial play development...
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Timeless Truths Of Cultural Appropriation And Cohabitation In “Public Works” And “The Landeaters”
When I reviewed the development season of The Ragged – the first play in what has evolved into THE...
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A New Version Of “Macbeth” For Today: Minimal, But Relatable
“When I was studying English literature at the University of Tokyo, even though I had no theater...
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