Ali Asghar Dashti & Nasim Ahmadpour – “We Came To Dance” (Kunstenfestivaldesarts)
“Can we fundamentally give a dancer an order to stop moving? […] Is dance not defined as the...
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TESZT 15: Euroregional Theatre Festival Timișoara, Romania (19-26 May, 2024)
Within the rich landscape of Romanian theatre festivals, TESZT has carved out a niche as an...
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Liu Xiaoyi’s Creative Revolution
Liu Xiaoyi is a man on a mission. His juice is an imagined world where artists are in the driver’s...
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Critical Generosity as a Decolonial Praxis
A view on EXÓTICA, by Amanda Piña / Studio Fortuna Art criticism is a stronghold of Western...
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CPH Stage Festival 2024
The 12th annual edition of CPH Stage Festival has come to a close. The cultural highlight that...
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When Sondheim Meets TikTok
Does Stephen Sondheim make you want to throw ass? Does the score of Sunday in the Park with George...
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Netherworld or Right Now?
Staged in the round with fewer than 25 people in a white box that feels like a gallery space, The...
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Hopes, Dreams, Revenants and Repetitions: La Zaranda’s “Manual Para Armar Un Sueño/Manual For Building A Dream” At Barcelona’s Teatre Romea
La Zaranda are one of Spain’s best kept theatrical secrets. Not because they are not well known or...
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Sentimentality and Mentality, Apocalypse and Theatrical Eclipse at 69th Sterijno Pozorje
The (Post)apocalyptic Light of the Stage – is the slogan of the 69th Sterijno pozorje, a festival...
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Happy Birthday Nuria Espert: “a Great Actor And a Force of Nature”
Nuria Espert turns 89 today. Hers has been an extraordinary career and it’s not over yet. She has...
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Sanaz Toossi’s English at the Kiln Theatre: Pulitzer Prize-Winning Play Shows the Impacts of a Second Language on Identity
Sanaz Toossi’s English at the Kiln Theatre: Pulitzer Prize-winning play shows the impacts of a second language on identity
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“Homo Pentecostus:” On Queer Intimacies, Religion, Ancestry And The Human Need For Connection
Music pumps; lights pulsate; two sweaty bodies sway together, touching, breathing in each other’s...
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Theatre as Confrontation: Catherine Filloux’s “How to Eat an Orange” at La MaMa
Catherine Filloux is an internationally recognized French-Algerian playwright. Her work revolves...
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“Lie Low,” Royal Court
Faye is okay. Or, at least she says she’s okay. But is she really? And, if she really is okay,...
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Eazees Int’l Women’s Theatre Festival Concludes Its Activities At Cairo Opera House
The Eazees International Women’s Theatre Festival (EIWTF), which kicked off on 16 May, concluded...
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Back to Back’s “Multiple Bad Things” takes a sophisticated look at the moral ambiguities of today’s ‘culture wars’
Back to Back Theatre is an internationally lauded ensemble of collaborators based in Geelong. With...
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When Theatre Meets Gaming: “Third Law” at Culture Lab LIC
I’ve long been fascinated by the concept of incorporating video game mechanics into theatrical...
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Holes In The Hole
When I first heard that Suzan-Lori Parks had taken up the story of Thomas Jefferson and Sally...
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Prominent American Theatre Scholar, Elinor Fuchs, Dies at 91
Elinor Fuchs, a trailblazing theater scholar, critic, and playwright, passed away on May 28, 2024,...
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“Bluets,” Royal Court
When does creativity become mannered? When it’s based on repetition, and repetition without...
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