Playwriting Archives - Page 5 of 18

“Bacon” at the Finborough Theatre

Posted by Konrad Zielinski | 15th Apr 2022 | LGBTQ+ Theatre, Playwriting, Review, United Kingdom

Engaging with narratives that draw on the subject of male queerness can be precarious. Two major...

“Shedding a Skin” at Soho Theatre

Posted by Aleks Sierz | 1st Apr 2022 | Playwriting, Review, Theatre and Gender, United Kingdom

Love is the most difficult four-letter word. And platonic love is perhaps the hardest kind of...

“Dream Hou$e”—The Costs of Home

Posted by Donald Brown | 24th Mar 2022 | Playwriting, Review, Theatre and Politics, United States of America

Review of Eliana Pipes’ Dream Hou$e, Long Wharf Theatre The question of heritage gets...

Sin Muros: Interview with Playwright Adrienne Dawes

Posted by Trevor Boffone | 15th Feb 2022 | Festivals, Playwriting, United States of America

Sin Muros: A Borderless Teatro Festival is back at Stages in Houston. Now in its fifth year, the...

“This Mortal Life Also:” A Conversation with Playwright Nancy Shank

Posted by Rhiannon Ling | 12th Feb 2022 | Interview, Playwriting, United States of America

Dietrich Bonhoeffer is not a name typically associated with the theatre. Though the Bonhoeffer...

Samuel Beckett and Tadeusz Różewicz: Shared Themes and Motifs

Posted by Tomasz Wiśniewski | 9th Feb 2022 | Essay, Playwriting, Poland

INTRODUCTION This article is comparative in approach and introduces the work of two classic...

More Morisseau: “Skeleton Crew” by Dominique Morisseau

Posted by Jonathan Kalb | 30th Jan 2022 | New York, Playwriting, Review, Theatre and Politics, United States of America

Skeleton Crew is Dominique Morisseau’s best play so far. It’s the most streamlined work in her...

“Best of Enemies,” Young Vic

Posted by Aleks Sierz | 14th Jan 2022 | Playwriting, Review, Theatre and Politics, United Kingdom

At the end of the 1960s, American soul poet Gil Scott-Heron said that the revolution will not be...

“Dance Like a Man” Keeps Time to Inherent Family Tunes

Posted by Sindhu Nagaraj | 2nd Jan 2022 | India, Playwriting, Review, Theatre and Gender

The classic play ‘Dance Like a Man’ captures the subtle undertones found in familial...

Five Plays about Enslavement by Black British Women Playwrights

Posted by Lynette Goddard | 10th Dec 2021 | Playwriting, Review, United Kingdom

“There’s a sidestep that Europe does where it takes itself out of the triangle… I’m never quite...

RE: Encuentro: Interview with “Paletas de Coco” Playwright Franky D. Gonzalez

Posted by Trevor Boffone | 26th Nov 2021 | Festivals, Interview, Playwriting, United States of America

In 2014, the Latino Theater Company (LTC) re-ignited the Latinx theatre festival tradition, a...

We Get There in the End: “Return to the Dirt” Pulls Back the Curtain on Life and Death in a Funeral Home

Posted by Sally Breen | 10th Nov 2021 | Australia, Playwriting, Review

Review: Return to the Dirt, written by Steve Pirie and directed by Lee Lewis, Queensland Theatre I...

Shahid Iqbal Khan’s “10 Nights” at the Bush Theatre: Moving Insight into Ritual and Belief

Posted by Aleks Sierz | 25th Oct 2021 | London, Playwriting, Review, Theatre and Religion, United Kingdom

Since 9/11 there has been considerable interest in staging stories about British Muslims, and the...

Hilary Mantel and Ben Miles’s The Mirror and the Light at the Gielgud Theatre: Engaging, but Rather Low Key

Posted by Aleks Sierz | 10th Oct 2021 | Adaptation, London, Playwriting, Review, United Kingdom

This is a labor of love. Hilary Mantel has adapted The Mirror and the Light, the third novel of...

Bess Wohl’s “Camp Siegfried” at the Old Vic: Powerfully Chilling and Resonant

Posted by Aleks Sierz | 27th Sep 2021 | Playwriting, Review, Theatre and Politics, United Kingdom

Are we too obsessed with Nazism? Apart from countless television programs which revisit that grim...

Veteran Thespian Launches Collection of Original Plays

Posted by Alexander Nderitu | 18th Sep 2021 | Kenya, News, Playwriting

“We have in essence what could be the most beautiful country in the world, we have great weather, we have friendlier people than I have met travelling elsewhere, and every seven years or so, somebody gives us an order and we sharpen our machetes and putting things alight! For those of us of a certain sensibility, this is stupid and what can we do about it? I knew I didn’t want to be the MP of my rural home area but I could write plays…”