Gotta Spoof ‘Em All: “Balls: The Monster-Catchin’ Musical Comedy” Parodies Pokémon in NYC
As a child of the 90s, I engaged in a popular post-school ritual growing up: plopping down in...
Read MorePosted by Andrew Agress | 13th Aug 2025 | Musical Theatre, New York, United States of America
As a child of the 90s, I engaged in a popular post-school ritual growing up: plopping down in...
Read MorePosted by Maria Delgado | 11th Aug 2025 | Festivals, Finland, Review, Tampere Theatre Festival 2025
In the opening page of the 2025 Tampere Theatre Festival brochure, the artistic team (Hilkka-Liisa...
Read MorePosted by Teodora Medeleanu | 10th Aug 2025 | Poland, Review, Theatre and Science
Sitting through 5 and a half hours of performance might seem like an exercise of will and...
Read MorePosted by Maria Delgado | 6th Aug 2025 | Festivals, Review, Spain
The 2025 Grec festival, the first under the new directorship of Leticia Martín Ruiz, opened on 26...
Read MorePosted by Teodora Medeleanu | 6th Aug 2025 | Poland, Review, Theatre and Religion
Jumping from one story to another or from a specific timeline to an entirely different one seems,...
Read MorePosted by Jenny Strataki | 6th Aug 2025 | Holland Festival 2025, Netherlands, Review
My colleague Jonathan and I were walking towards Leidseplein and the Internationaal Theater...
Read MorePosted by Róisín Daly | 6th Aug 2025 | Holland Festival 2025, Netherlands, Review, Theatre and AI
Stepping into From Dust feels less like attending a performance and more like consciously entering...
Read MorePosted by Javad Mohajeri | 6th Aug 2025 | Holland Festival 2025, Netherlands, Review, Theatre and AI
Arrival and Anticipation On Thursday, June 19, I participated in Michel van der Aa’s From Dust....
Read MorePosted by Unnur Hlíf Rúnarsdóttir | 6th Aug 2025 | Holland Festival 2025, Netherlands, Review
For Part I of this review, go here. Yet again, I find myself at the edge of Amsterdam, at the...
Read MorePosted by Unnur Hlíf Rúnarsdóttir | 6th Aug 2025 | Holland Festival 2025, Netherlands, Review
It is the third day of the Holland Festival, and I make my way to what feels like the edge of...
Read MorePosted by Emiliia Dementsova | 5th Aug 2025 | Adaptation, Azerbaijan, Review, Theatre and Politics
A provincial theatre celebrates an anniversary. In the dressing room — two men: a comic and a...
Read MorePosted by Maria Delgado | 5th Aug 2025 | Festivals, Review, Spain
The first new production of Mark Rosenblatt’s Olivier-award-winning Giant since its London...
Read MorePosted by Soo Ryon Yoon | 4th Aug 2025 | Featured, Management, News, South Korea, Theatre and Gender, Theatre and Politics
“Can we just disband the Seoul Foundation for the Arts and Culture entirely and start over?” A...
Read MorePosted by Amir Al-Azraki | 3rd Aug 2025 | Essay, Iraq, Theatre and Decolonization
Inherited Voices: A Theatre of Borrowed Authority Recently, I’ve found myself drawn to a popular...
Read MorePosted by Aleks Sierz | 2nd Aug 2025 | London, Review, United Kingdom
Is there such a thing as the seven-year itch? Named after Billy Wilder’s 1955 comedy, which...
Read MorePosted by Savas Patsalidis | 1st Aug 2025 | Bulgaria, Festivals, Transcultural Collaborations
To read PART I of this report, go to this link. Two “in yr face” Tragedies: Double...
Read MorePosted by Savas Patsalidis | 1st Aug 2025 | Bulgaria, Festivals, Transcultural Collaborations
We each owe a Death Johannes von Tepl, Death and the Ploughman [ Der Ackermann und der Tod, 1401 ]...
Read MorePosted by Mona Mirzaei | 30th Jul 2025 | Review, Theatre and Politics, United States of America, Worldwide
Blind Runner, the latest play by Amir Reza Koohestani, was performed from January 4 to 24, 2025,...
Read MorePosted by Daniel Meyer-Dinkgräfe | 28th Jul 2025 | Germany, Management, Review
Germany’s theatre landscape is very rich indeed. Many cities have publicly owned and funded...
Read MorePosted by Xunnan Li | 26th Jul 2025 | Avignon 2025, China, Chinese Theatre Abroad, Design, Review
Feng Lu’s “L’histoire d’un Accident”, presented in Avignon 2025, offers a layered exploration of theatrical space inspired by Henri Lefebvre’s theory of spatial production. The play unfolds through a play-within-a-play structure, blending backstage conflict, parody, and audience disruption to challenge the boundary between fiction and reality. A planted “spectator” blurs the line between performance and life, turning spatial ambiguity into a central aesthetic strategy. Rather than seeking clarity, the production invites audiences to dwell in uncertainty, where ambiguity becomes an essential part of how space is experienced, performed, and emotionally understood.
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