Spectacle and Tradition at the 2014 Lincoln Center Festival
In 2014, Marcina Zaccaria wrote about The Lincoln Center Festival, including productions of...
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“I Am Me” Returns to Brooklyn After Russia
Raphael Schklowsky writes about Nicole Kontolefa, an American actress trained in Russia, who is...
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Tony Allotta & Valeria Colucci Explain Teatro Valle Occupato
In the spring of 2012, TheTheatreTimes.com, along with members of The Fence network, spent a few...
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Tackling Gender Inequality On Stage Needs To Go Further Than Female Hamlets
Several British theatres have made a pledge to address the levels of gender inequality on the...
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Teatr Chorea’s Retro//Per//Spectives Festival: Part 3
After the enormous Oratorium Dance Project, in 2011, no one wanted to stop working with the Łódź...
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Patriarchy’s Ghosts In The Light Bulbs: “Hamlet” At The Royal Exchange
The ghost, in this autumn’s Royal Exchange Theatre production of Hamlet, is in the light bulbs....
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Lachlan Philpott on the Flux in Australian Programming
Australian playwright and Fulbright scholar, Lachlan Philpott, writes about the socio-cultural...
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Amanda Macri on the Need for Storytellers: New Playwriting in Australia
Amanda Macri, General Manager at Playwriting Australia, writes about the broad range of resilient...
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Anthea Williams on Belvoir’s Important New Season
Anthea Williams, Associate Director-Literary at the Belvoir Street Theatre in Sydney, writes about...
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Cristin Kelly Goes from Expat to Expert in 100 Days
American dramaturg, Cristin Kelly, reflects on her personal project, 100 Aussie Plays in 100 Days,...
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Dramaturg Glenn Saunders on the Australian Approach to the Classics
Freelance theatre critic and dramaturg, Glenn Saunders, writes about the unique energy of...
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“Soap”: A Sexy Night On The Tiles At The Brisbane Festival
Traditionally soap is made by rendering down lard. But in this tight show, Soap, playing at the...
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Spanish Playwright Jose Padilla Never Surrenders
José Padilla is one of the brightest lights in the Spanish theatre right now. Amongst his...
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Interview with Spanish Playwright Antonio Rojano
Antonio Rojano is a self-taught playwright, and he is well-taught! He has won almost every main...
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We Need Language To Shock: Why “The Sublime” Gets Rape Wrong
Here are two opposing definitions of rape: Rape: a violent, criminal act almost exclusively...
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A Static “Ivanov” At Theaterfestival Basel
“Alienation” drones Ivanov’s English-learning tape in the second act of the production. The...
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Plays In Ancient Athens Would Have Been More Like A Kate Bush Concert Than High-End Theatre
The September 4 live transmission of Euripides’ Medea will have brought an ancient Greek tragedy...
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“Naked, Obscene Theater, That’s What Our People Fear” – On Russian Theatre and Politics
Kirill Serebrennikov, the artistic director of Moscow’s innovative Gogol Center, and a...
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Mariinsky Theatre: From Imperial Legend to Modern Powerhouse
Under Valery Gergiev’s leadership, the Mariinsky has emerged from the post-Soviet crisis to become...
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Teatr Chorea’s Retro//Per//Spectives Festival: Part 2
Over the five days of the Retro//Per//Spectives festival, the host company Teatr Chorea performed...
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