Dead Centre’s “Chekhov’s First Play”
Also known as Platonov or the Play Without A Title, Chekhov’s first playtext, written when he was...
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Adaptation
Theatre Review: Xameleon Theatre’s “The Little Prince”–”A Play For Young And Old”
First published in 1943 in New York, the story of the little prince and his travels hasn’t lost...
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A New Take On “An Enemy Of The People” Fizzes With Contemporary Relevance
The fitness of Henrik Ibsen’s plays to address the political questions of our modern lives renews...
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An Adaptation of Samuel Beckett’s “Watt” Questions Being And Perception
It resembled a pot, it was almost a pot, but it was not a pot of which one could say, Pot, pot,...
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Jasmin Vardimon: Adapting “Medusa” Myth In The Liquid Modernity Age
Choreographer Jasmin Vardimon’s new show, Medusa, is a multiple and composite piece of art that is...
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Hal Coase’s “Mrs. Dalloway” At The Arcola Theatre
Since Virginia Woolf’s Mrs. Dalloway was first published in 1925 its reputation as a brilliant...
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Adapting Identities: Freya Treutmann’s “Scratches” And “Evidence Of Codes” In Edinburgh
The relation between identity and performance is one of the strongest topics in the field of...
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“Free EU Roaming”: Adapting Catalan Referendum Into A Play
Presented at the Smock Alley Theatre for the last edition of the Dublin Fringe Festival, Free EU...
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Conversation With Élise Vigier, Director Of “Harlem Quartet”
The 7th Edition of Seuls en scène, Princeton French Theater Festival presents Harlem...
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A Performative View on Kafka’s “The Great Wall” by Paper Tiger Theatre Studio (Beijing)
In May and August 2017, respectively, Theater der Welt in Hamburg and The Shanghai Ming...
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How “Possessed” Is The Audience?
What is expected from theatrical adaptations of literature? Why have they become so popular...
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Review: “Sisters” At Soulpepper Theatre
Nicole Power (who plays Evelina) writes in her Soulpepper Artist Program Note that she is grateful...
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Young Work At TAZ #2018: Alice Bogaerts And Ingrid Berger Myhre
At their first encounter with director Alice Bogaerts’s and dramaturg Marleen Ilg’s stage...
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Nine Years Theatre’s “Pissed Julie 茱莉小解”: Third Wheelings
In Pissed Julie, the magic number is three. The play begins with a row of three chairs, dwarfed by...
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Seana Mckenna Shines As Julius Caesar At Stratford
By the time the assassination scene arrives in the Stratford Festival’s new production of Julius...
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Marguerite Duras’ “La Maladie De La Mort”: Katie Mitchell and Alice Birch Collaboration
As its title suggests, La Maladie De La Mort is not exactly an uplifting piece of theatre. In...
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Korean Theatre at The Edinburgh Fringe 2018: “About Lady White Fox with Nine Tales . . .”
Korean theatre company YVUA ARTS makes their Edinburgh Festival Fringe debut with About Lady White...
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How Norwegians Do It (Play Ibsen, That Is)
The plays of the great Norwegian playwright Henrik Ibsen are a natural staple of the repertoire at...
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“Melancholia” Artfully Brings The End Of The World To The Stage
Melancholia is based on Lars von Trier’s 2011 film of the same title but has been adapted for the...
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“Orlando” At Soulpepper Theatre
To see actors who have received proper professional training in the use of two core...
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