Re-Enchanting The World With Performing Arts: Stories From Cambodia
What we really need in this capitalist, power-driven, exploitative, consumerist world, according...
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Daring And Visually Stunning: Robert Wilson’s Take On “Pushkin”
The world premiere of a groundbreaking new production by Robert Wilson took place at Moscow’s...
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Opera, Sexual Violence, And The Art Of Telling Terrible Tales
As an art form routinely accused of contemporary irrelevancy, opera rarely makes headline news....
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Chopin Theatre: A World Meeting Place Amidst a Changing Chicago
I’m sprinting down Milwaukee Avenue in Chicago, Illinois. It’s nearly two o’clock on a sunny April...
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British Director Brings Rock ‘N’ Roll Version Of “La Traviata” To Mariinsky
The troupe of the Mariinsky Theater will present a new version of Giuseppe Verdi’s La...
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Jan Kott, City Garage, and the Polish Theatre in Los Angeles
“Does anyone still read Jan Kott?” asked Michael Billington, theatre critic, in his article in The...
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John Freedman on New Russian Drama
Aleena Karim interviews John Freedman, an acclaimed American critic, translator and playwright, on...
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Staging Shakespeare’s Tragedies in Tehran: An Interview with Iranian Director Mohammad Aghebati
An Interview with Iranian Director Mohammad Aghebati Most young Americans would be hard-pressed to...
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“An Audience With Jimmy Savile”–This Is A Vital Play
In October 2012 ITV broadcast The Other Side Of Jimmy Savile, in which several women alleged that...
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Monique Stalens: A Life Steeped In Polish Theater
Today, Monique Stalens often directs her theater adaptations of Gombrowicz and Witkacy in Polish,...
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Artistic Expression Under Threat As Conservative Tide Grows In Russia
Russia is witnessing a worrying increase in attacks on avant-garde art. A series of recent bans on...
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“The Waiting Room,” IVF And The Sanctity Of Sex–Review
Kylie Trounson is a writer and playwright–and the daughter of Melbourne IVF pioneer Alan Trounson....
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Review: “The Merchant Of Venice,” Shakespeare’s Comedy Of Cruelty
The Merchant Of Venice (first published in 1600) boasts a problematic and sometimes controversial...
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Where are Women’s Voices in Translation?
Our correspondent Amelia Parenteau attended a “consciousness-raising” discussion of...
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The Solipsism of Risk
Australian theatre-maker, Olivia Satchell, explores the subjectivity of risk, and how artists...
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International Chekhov Theater Festival Opens In Moscow
The program includes stage productions from Argentina, the UK, Germany, Spain, Italy, China,...
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Building Bridges: Moscow Play Unites Deaf-Blind, Sighted And Hearing Actors
A play staged by Moscow’s Theater of Nations has become the first theatrical production in Russia...
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Looking Back and Moving Forward with Okello Kelo Sam
TheTheatreTimes correspondent Amelia Parenteau interviews Ugandan writer/performer Okello Kelo Sam...
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Playwriting Doesn’t Get Better Or Worse–But It Does Evolve
This is a long-read essay, the third in a series on playwriting and drama by Julian Meyrick. Read...
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Built for Collapse: “Red Wednesday”
The evening that I saw Red Wednesday by Built for Collapse at the LaGuardia Performing Arts...
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