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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Directing
“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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“The Bloody Poet: A Novel about Nero” at DESIRÉ Central Station
At this “Desiré” festival in Subotica, on the stage of the Dezső Kosztolányi Theatre,...
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“Kerry Jackson,” National Theatre
Is British new writing in deep trouble? With the Arts Council defunding venues such as the...
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“Husino’s Miner” at Dodona Theatre, Prishtina, Kosovo
Is this the first memorial disco theatre piece of its kind in modern theatre? Well, it’s a disco...
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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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Remembering Joan Littlewood (6 October 1914 – 20 September 2002)
Since 2015, a large bronze statue has stood outside the Theatre Royal Stratford East. Raised on a...
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Exclusive Interview with Stuart Nash, Founder of Nairobi Performing Arts Studio
ALEXANDER NDERITU: Thank you for agreeing to this interview, Mr. Nash. Let’s start with some...
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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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