Vladimir Sorokin Takes The Stage
The premier of Telluria caused little controversy when it opened in St. Petersburg. Maybe Russian...
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Mikhailovsky Theater Ready For Its Turn In The Spotlight
While not as well known as the Bolshoi or the Mariinsky, the Mikhailovsky Theater’s leadership...
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“The Complexity Of Belonging” At The Melbourne Festival–Reviewed
I’ve often lamented that choosing to study the most complex organisms on Earth was the dumbest...
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Ulrike Syha Interviews Dominique Dolmieu
Ulrike Syha: When was Eurodram, a network for drama in translation, founded? What was the initial...
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Yury Lyubimov, For whom History was a Home
The death of Yury Lyubimov in Moscow on Sunday morning, October 5, 2014, at the age of 97, puts...
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Terrorism, Truth, and Trust – How Dramaturgy Informs Real Life
Drama and its core principles are to be found in theatres while the real world goes on outside,...
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“Black Diggers”: Out Of The Trenches At The Brisbane Festival
The performance space in which Wesley Enoch‘s play Black Diggers is being performed at the...
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St. Petersburg’s Alexandrinsky Theater Opens New Stage With Production Of “Telluria”
The illustrious theater’s New Stage will present its season opener on September 26. The...
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Back to the U.S.S.R.
On occasion, rather than buried and hidden somewhere, essences lie right there on the surface,...
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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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