Mieczysław Weinberg’s Opera “The Passenger”: On Memory and Forgetting
Polish classical musicians and opera singers have always enjoyed global renown, with singers such...
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Theatre Reviewing Is A Responsible Job–And It Requires Care
Is there any job other than theatre critic where so little knowledge can carry so much weight? If...
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Western Sydney Meets The City In Nakkiah Lui’s “Kill The Messenger”
Last week I went to the theatre. Unusual? No. But I say this because this event was real theatre...
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A National Theatre Of Australia Is Needed, And It’s Time
Sociologist Max Weber once called politics “the slow boring of hard boards”. If he had been in the...
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Sebastian Kreyer’s Staging of “Ghosts”
I’ve complained a lot in previous reviews about directors staging tragedies as comedies. But...
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#Wikiturgy Edit-A-Thon
Last year, on February 17, the online theater world exploded following candid remarks regarding...
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Florin Piersic Jr’s “Freak Show” Reviewed By Camelia Ciobanu
Humanity is by no means short of afflictions and artists never tire of exposing them. One of these...
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Is It A “Birdman”? Is It A Play? It’s Super Meta-Textuality!
What do Shakespeare’s Hamlet, The Simpsons, and Alejandro G. Iñárritu’s film Birdman have in...
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A Better-Than-Traditional Woyzeck
I don’t actually like Woyzeck very much, so I am not sure why I bought tickets to two different...
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The Threepenny Non-Opera
Brecht and Weill’s Threepenny Opera is much more of a musical than an opera. But it decidedly...
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Q And A With Author Of “The Tribe”: Michael Mohammed Ahmad
This week, as part of Sydney Festival’s Bankstown: Live program, Michael Mohammed Ahmad will...
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Every Detail Counts In “Wot? No Fish!!” At Sydney Festival
During an artist talk just an hour before performing Wot? No Fish!! on Saturday at the Sydney...
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Moscow’s Oddest Puppet Theater: Ambulances, Shakespeare Menus, And Lilikans
At the Ten’ (Shadow’) puppet theater in Moscow, audiences can watch plays in miniature or...
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Jan Kott Our Contemporary: Contexts, Legacies, New Perspectives–Reviewed By Valenka Navea
“Shamanistic charlatanism!” “A pernicious influence on Peter Brook!” Like...
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Japan’s Theater Scene Begins to Decentralize
Tokyo has long been the center of Japan’s theatre world, but in 2014, that began to change,...
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50 Years with Ariane Mnouchkine’s Théâtre du Soleil
American playwright, translator, and journalist Amelia Parenteau is currently in residence in...
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Interview with Spanish Scenic Designer Jose Luis Raymond
José Luis Raymond is a multi award-winning Spanish Stage Designer, Director, Plastic Artist, and...
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Tena Štivičić’s “3 Winters” At The Royal National Theatre, Reviewed By Evgeniya Yarkova
3 Winters at the Royal National Theatre tells the 60-year story of a Croatian family living in...
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Where Are the Women in French Theater?
American playwright, translator, and journalist Amelia Parenteau is currently in residence in...
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Ridley Scott’s Casting Of White Actors Is Symptomatic Of Larger Problems
Director Ridley Scott recently set off a firestorm when he dismissed those who criticized him for...
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