Directing Archives - Page 4 of 13

“The Bloody Poet: A Novel about Nero” at DESIRÉ Central Station

Posted by Emilija Kvočka | 4th Jan 2023 | Adaptation, Directing, Festivals, Review, Serbia

At this “Desiré” festival in Subotica, on the stage of the Dezső Kosztolányi Theatre,...

“Kerry Jackson,” National Theatre

Posted by Aleks Sierz | 22nd Dec 2022 | Directing, London, Review, Theatre and Politics, United Kingdom

Is British new writing in deep trouble? With the Arts Council defunding venues such as the...

“Husino’s Miner” at Dodona Theatre, Prishtina, Kosovo

Posted by Verity Healey | 9th Nov 2022 | Directing, Kosovo, Musical Theatre, Review, Theatre and Politics

Is this the first memorial disco theatre piece of its kind in modern theatre? Well, it’s a disco...

Clowning “On Beckett,” Irwin Delights at the Emerson Paramount Center

Posted by Matthew McMahan | 31st Oct 2022 | Adaptation, Boston, Directing, Ireland, Review, United States of America

Bill Irwin greets the audience by conveying that the performance will be around 90 minutes (by way...

Remembering Joan Littlewood (6 October 1914 – 20 September 2002)

Posted by Tom Cornford | 17th Oct 2022 | Directing, Essay, Theatre and Politics, United Kingdom

Since 2015, a large bronze statue has stood outside the Theatre Royal Stratford East. Raised on a...

Exclusive Interview with Stuart Nash, Founder of Nairobi Performing Arts Studio

Posted by Alexander Nderitu | 11th Oct 2022 | Directing, Interview, Kenya, Theatre and Decolonization, Theatre and Politics

ALEXANDER NDERITU: Thank you for agreeing to this interview, Mr. Nash. Let’s start with some...

“Viviani on the Road”: The Third Part of the Special Project, Trianon Viviani Theatre in Naples

Posted by Maria Pia Pagani | 3rd Oct 2022 | Adaptation, Directing, Italy, Review

The Trianon Viviani Theatre had offered a new chapter of the special project “Viviani on the Road”...

“The Interrupted Dream” by Hong Kong’s Zuni Icosahedron in Wrocław, Poland

Posted by Rossella Ferrari | 1st Oct 2022 | Adaptation, China, Directing, Festivals, Hong Kong, Poland, Review

Tang Xianzu’s sixteenth-century classic, Peony Pavilion (1598), is a play about boundaries and...

“When God Kicks You In The Womb,” The Artist is Born

Posted by Emilija Kvočka | 5th Sep 2022 | Design, Directing, Review, Serbia

Performance “When God Kicks You In The Womb”, based on the novel by Ildiko Lovaš, is a...

“The Drawer Boy” and Another Way of Telling History

Posted by Barbara Gabriel | 2nd Sep 2022 | Canada, Directing, Festivals, Review

The opening play of the Blyth Theatre Season, Michael Healey’s Canadian classic, The Drawer Boy,...

Honey, I’m Home! — Robert Icke’s “Oresteia”

Posted by Jonathan Kalb | 13th Aug 2022 | Adaptation, Directing, New York, Review, United States of America

If nothing else, you have to admire the chutzpah of Robert Icke’s Oresteia, which tries to...

Leveling Effects: Matthew Spangler’s Adaptation of “The Kite Runner”

Posted by Jonathan Kalb | 10th Aug 2022 | Adaptation, Afghanistan, Directing, Review, United States of America

Khaled Hosseini’s 2003 novel The Kite Runner is a vividly descriptive and often gripping tale of...

Sacrament of the Sea: Houseworld’s “Bottom of the Ocean”

Posted by Andrew Agress | 9th Aug 2022 | Directing, Immersive Theatre, New York, Review, United States of America

Whispering the word BOTO into the speakeasy-style window of a door, I felt a sense of trepidation,...

Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part II

Posted by Yana Meerzon | 7th Aug 2022 | Avignon 2022, Directing, Festivals, France, Theatre and Politics

This is Part 2 of the bipartite report. To read Part 1, click here. Anaïs Nin au Miroir, written...

Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part I

Posted by Yana Meerzon | 6th Aug 2022 | Avignon 2022, Directing, Festivals, France, Review, Theatre and Religion

I arrived at the 2022 Avignon Theatre Festival seeking emotional rejuvenation after two years of...

A Director Needs “to Practice What They Preach”: An Interview with Milosh Andonovski, Theatre Director and Educator

Posted by Ivanka Apostolova Baskar | 31st Jul 2022 | Directing, Education, Interview, Macedonia

Milosh Andonovski (1989) was born in Kumanovo, North Macedonia. He graduated Comparative...

“Bangers,” Soho Theatre

Posted by Aleks Sierz | 18th Jul 2022 | Directing, Musical Theatre, Review, United Kingdom

Is gig theater the latest sugar rush? Okay, it ups the brain’s serotonin levels and charges around...

Barcelona Art Scene: “Next to Normal Immersive” at Grec 2022 Festival

Posted by Alexander Fatouros | 13th Jul 2022 | Design, Directing, Interview, Musical Theatre, Spain

Set at Barcelona’s IDEAL Digital Arts Center and crafted by British director Simon Pittman, “Next...

Comfort in the Unknown: SOCIETY’s “The Strangers Came Today”

Posted by Andrew Agress | 11th Jul 2022 | Directing, Dramaturgy, New York, Review, United States of America

How is theater like a support group? This question struck me upon entering The Strangers Came...

“On the Verge of Tragedy and Farce”: An Interview with Dmitry Krymov

Posted by Sergey Elkin | 3rd Jul 2022 | Adaptation, Directing, Interview, Russia

Dmitry Krymov: artist, director, stage designer, teacher. The son of two of the great theatrical...

Directing

“The Bloody Poet: A Novel about Nero” at DESIRÉ Central Station

“Kerry Jackson,” National Theatre

“Husino’s Miner” at Dodona Theatre, Prishtina, Kosovo

Clowning “On Beckett,” Irwin Delights at the Emerson Paramount Center

Remembering Joan Littlewood (6 October 1914 – 20 September 2002)

Exclusive Interview with Stuart Nash, Founder of Nairobi Performing Arts Studio

“Viviani on the Road”: The Third Part of the Special Project, Trianon Viviani Theatre in Naples

“The Interrupted Dream” by Hong Kong’s Zuni Icosahedron in Wrocław, Poland

“When God Kicks You In The Womb,” The Artist is Born

“The Drawer Boy” and Another Way of Telling History

Honey, I’m Home! — Robert Icke’s “Oresteia”

Leveling Effects: Matthew Spangler’s Adaptation of “The Kite Runner”

Sacrament of the Sea: Houseworld’s “Bottom of the Ocean”

Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part II

Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part I

A Director Needs “to Practice What They Preach”: An Interview with Milosh Andonovski, Theatre Director and Educator

“Bangers,” Soho Theatre

Barcelona Art Scene: “Next to Normal Immersive” at Grec 2022 Festival

Comfort in the Unknown: SOCIETY’s “The Strangers Came Today”

“On the Verge of Tragedy and Farce”: An Interview with Dmitry Krymov

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