Playwriting Archives - Page 14 of 18

“Heather” at The Bush Theatre

Posted by Aleks Sierz | 22nd Nov 2017 | London, Playwriting, Review, United Kingdom

Harry Potter has a lot to answer for. The phenomenal success of JK Rowling’s books, and of their...

“Poison” at The Orange Tree Theatre

Posted by Aleks Sierz | 21st Nov 2017 | Acting, London, Playwriting, Review, United Kingdom

Continental drama, in this era of Brexit negotiations, seems to be rarer and rarer on British...

James Graham’s “Quiz” With Audience Participation

Posted by Gary Shipton | 20th Nov 2017 | Festivals, London, Playwriting, Review, United Kingdom

Life-changing wealth which is won in an instant then recklessly sacrificed a second later is the...

“The Retreat” at The Park Theatre

Posted by Aleks Sierz | 19th Nov 2017 | London, Playwriting, Review, United Kingdom

Is Buddhism a path to finding spiritual enlightenment — or just an excuse for not facing your...

Theatre Of The Real: Bengali Playwright Manoj Mitra’s New Work on Socrates

Posted by Sebanti Sarkar | 19th Nov 2017 | India, Playwriting, Review, Theatre and Politics

Six decades of writing, acting and directing often inspired by the changing milieu — Bengali...

Tale Of A Wounded Soul

Posted by Diwan Singh Bajeli | 13th Nov 2017 | Festivals, India, Playwriting, Review

This year’s winner at Mohan Rakesh Samman Evam Natya Samaroh, Ghanshyam Kumar Devansh’s Hastinapur...

“Young Marx” at Bridge Theatre

Posted by Aleks Sierz | 9th Nov 2017 | London, Playwriting, Review, Theatre and Politics, United Kingdom

Given the rather uneven record of the National Theatre at the moment, there’s already a certain...

Family, Latinidad, and Queerness Coalesce In Marga Gomez’s “Latin Standards”

Posted by Trevor Boffone | 2nd Nov 2017 | LGBTQ+ Theatre, Playwriting, Review, United States of America

Marga Gomez began her career in San Francisco’s gay comedy clubs in the mid-1980s, including the...

Big Bang: “Germinal” Creates a Universe Out of Nothing On Stage

Posted by Jana Perkovic | 1st Nov 2017 | Australia, Festivals, Melbourne, Playwriting, Review

In theatre-making, we often talk about world creation. “What is the world of the play?” teachers...

“Saint George and the Dragon” at The National Theatre

Posted by Aleks Sierz | 1st Nov 2017 | London, Playwriting, Review, United Kingdom

In Bertolt Brecht’s Life of Galileo (1943), there’s a typically didactic exchange: Andrea, the...

Mike Bartlett’s “Albion” at Almeida Theatre

Posted by Aleks Sierz | 31st Oct 2017 | London, Playwriting, Review, United Kingdom

Prolific writer Mike Bartlett is the most impressive penman to have emerged in British theatre in...

A Closer Look: The Russia/U.S. Playwright Exchange

Posted by Evgeny Kazachkov and Sasha Sharova | 31st Oct 2017 | Interview, Playwriting, Russia

On October 6 and 7, 2017, The Lark hosted The Russia/U.S. Playwright Exchange, in partnership with...

“Victory Condition” at Royal Court

Posted by Aleks Sierz | 25th Oct 2017 | London, Playwriting, Review, Theatre and Gender, United Kingdom

What does it mean to feel contemporary? Feel. Contemporary. Really feel. According to...

“Heisenberg: The Uncertainty Principle” at Wyndham’s Theatre

Posted by Aleks Sierz | 24th Oct 2017 | London, Playwriting, Review, United Kingdom

Playwright Simon Stephens and director Marianne Elliott are hyped as a winning partnership. Their...

What Is The State of New Plays in Contemporary China?

Posted by Nina Huang | 18th Oct 2017 | China, Essay, Playwriting, Producing

Meddling directors, confused actors, and pushy politicians are leaving the country’s budding...

Nassim Soleimanpour and the Manila Envelope Theatre

Posted by Aida Rocci | 18th Oct 2017 | Iran, Playwriting, Review

Seven years ago, a new play challenged the role of the actor, the playwright, the audience, and the capacity of one individual to travel. The play was White Rabbit Red Rabbit, written by the mysterious Nassim Soleimanpour, an Iranian writer who encouraged the audience to email him with impressions about his play.