“ANGELA (a Strange Loop)”: The Wild and Wonderful World of Susanne Kennedy
Susanne Kennedy doesn’t do things by half. When she creates a world, it has its own logic, its own...
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Directing
Phillip Luswata: A Career Onstage and Behind the Scene
Phillip Luswata – “the one from Uganda” The first time I learned about Phillip Luswata was on a black and white TV. Then, he was a guest on the South African evening daily soap, Egoli: Place of Gold. His cameo had received such...
Read MoreLeonard Okware: 39 Years Behind the Lights
Leonard Okware has been making theatre companies at the national theatre in Uganda look good for the past 39 years. Theatre lighting design has a major influence on setting the tone and mood of any theatre production. It is what...
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Tartuffe or the Hypocrite: Tartare of Tartuffe
One of the most popular dishes in French cuisine is tartare. Diced beef with egg yolk and lots of...
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All The Conflicts In The Social Theatre Today: Interview With Fabio Tolledi
Fabio Tolledi is a theatre director, and playwright of Astràgali Teatro, a theatre company founded...
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Craft of “Downton Abbey” and “Gilded Age” Director, Michael Engler
American television and film director Michael Engler is extraordinarily skilled at both comedies...
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Eugene Ma Wants to Shake Up Hong Kong Theater
Some performers were born to be on Broadway, and Eugene Ma could easily be among them: The...
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An Interview with Alexey Strelnicov, Belarusan Director
Alexey Strelnicov was a Belarusian theatre critic, director, actor, and tutor. He is considered to...
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“The Arabian Nights” in Taiwan: Deserted in the Oriental Dream
Originally a collection of West Asian folktales, The Arabian Nights may be the series of...
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Brian Friel’s “Dancing at Lughnasa” at the National Theatre: Josie Rourke’s Spirited Revival of This 1990 Classic Is More Fun than Subtle
Brian Friel’s classic play about the blending of Paganism and Christianity in 1930s Ireland is...
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Touching the Azerbaijani Theatre: From Ritual to Spontaneity
The term of ritual has always been an object for endless discussions amongst theologians, cultural...
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You Came to See the Obscene?—”2020: Obscene”
Alexandra Bachzetsis’s latest group performance, 2020: Obscene, estranges the word obscene from...
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Sitting Down with Emerging Artist Thalia Ranjbar
The work of Thalia Ranjbar may be challenging– pushing beyond norms and expectations, but at its...
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Josep Maria Pou Excels In a Minimalist Catalan-language Production of Florian Zeller’s “The Father”
Florian Zeller’s The Father, first produced in 2012, remains a timely play for various reasons. It...
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Àlex Rigola’s Lean, Mean Riff on “Hedda Gabler”
Catalan director Àlex Rigola, the former artistic director of the Venice Biennale’s theatre...
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The Geography of Theatre Imagination: A New “Endgame” at a New Irish Theatre Festival
Much of my approach to theatre, to performance, especially, consists in locating and assessing a...
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When Nobel Met Booker: Dario Fo, Barry Unsworth, and One Shambolic Italian Summer
The summer of 1985 is oppressive around the medieval Italian town of Gubbio. Thick heat is held...
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Trap Door Theatre’s “Princess Ivona”: Piercing yet Healing
Located at the end of a long, narrow corridor, seating the audience near the stage and close to...
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Toronto’s Next Gen Theatre Makers are Looking for Answers to Big Questions
When I thought about why I wanted to write this article, a simple, almost childlike thought came...
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New Australian Play “D*ck Pics in the Garden of Eden” is Bold, Funny – And Very, Very Lewd
Review: D*ck Pics in the Garden of Eden, written and directed by Jeffrey Jay Fowler, The Last...
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