“Woyczek” at the National Theater of Hungary
Buchner’s “historically difficult explains modernity” in the performance of...
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Adaptation
Clowning “On Beckett,” Irwin Delights at the Emerson Paramount Center
Bill Irwin greets the audience by conveying that the performance will be around 90 minutes (by way...
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“Desdemona Roopakam” to be Staged
The play seeks to draw parallels between Desdemona from Othello and select women from Indian epics...
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Patriarchy as Judge: Smith Street’s Contemporary “Measure for Measure”
“Patriarchy is a judge that judges us for being born” proclaims the banner wrapped above our...
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“Viviani on the Road”: The Third Part of the Special Project, Trianon Viviani Theatre in Naples
The Trianon Viviani Theatre had offered a new chapter of the special project “Viviani on the Road”...
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“Cabaret” at the Theatre of Nations: Inside and Underwear of the Third Empire
Musical drama of unlearned lessons is perhaps the most appropriate definition for Evgeny...
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“The Interrupted Dream” by Hong Kong’s Zuni Icosahedron in Wrocław, Poland
Tang Xianzu’s sixteenth-century classic, Peony Pavilion (1598), is a play about boundaries and...
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Dangerous Desires in “Marie It’s Time”
Why is this boy-kills-girl play different from all other boy-kills-girl plays? For starters, it...
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Belvoir’s “Tell Me I’m Here” Looks at the Impact of Mental Illness on the Whole Family. It is a Wrenching and Beautiful Work.
Review: Tell Me I’m Here, directed by Leticia Cáceres, Belvoir. Released in 1991, the memoir Tell...
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“Who Killed My Father,” Young Vic
‘If this were a text for the theatre, here is how it would begin’ – these are the opening words of...
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A Production to Satisfy Sydney’s Darkest Imaginings: Sydney Theatre Company’s “Strange Case of Dr Jekyll and Mr Hyde”
Review: Strange Case of Dr Jekyll and Mr Hyde, directed by Kip Williams for Sydney Theatre Company...
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Mental Illness, Misogyny, and the Myth of the Male Genius in “The Butcher Boy”
This review contains spoilers. TW: suicide, homicide, mental illness The Butcher Boy, which opened...
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“Don’t You Hate It When Assholes Are Talented?”: “macbitches” at Chain Theatre
I went to theatre school. Know this before reading on. I went to theatre school, trained as an...
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Honey, I’m Home! — Robert Icke’s “Oresteia”
If nothing else, you have to admire the chutzpah of Robert Icke’s Oresteia, which tries to...
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“The Cherry Orchard,” Portland Experimental Theatre Ensemble
What might Anton Chekov, that Russian master of the nineteenth century, have to say about the...
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Leveling Effects: Matthew Spangler’s Adaptation of “The Kite Runner”
Khaled Hosseini’s 2003 novel The Kite Runner is a vividly descriptive and often gripping tale of...
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Ivo Van Hove’s Water-turgy: “Ingolstadt” at the Salzburg Festival
Just over a hundred years since its founding (by impresario and theatre director Max Reinhardt),...
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With “The Tenant of Wildfell Hall” at The Sydney Theatre Company Gives Us a Brontë Adaptation for Our Moment
Review: The Tenant of Wildfell Hall, directed by Jessica Arthur for the Sydney Theatre Company...
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Unmanly Griefs: Robert Icke’s “Hamlet”
The first ten minutes of Robert Icke’s 3 ¾-hour Hamlet had me worried. Icke is a British directing...
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“On the Verge of Tragedy and Farce”: An Interview with Dmitry Krymov
Dmitry Krymov: artist, director, stage designer, teacher. The son of two of the great theatrical...
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