“Dance Like a Man” Keeps Time to Inherent Family Tunes
The classic play ‘Dance Like a Man’ captures the subtle undertones found in familial...
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Playwriting
Five Plays about Enslavement by Black British Women Playwrights
“There’s a sidestep that Europe does where it takes itself out of the triangle… I’m never quite...
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RE: Encuentro: Interview with “Paletas de Coco” Playwright Franky D. Gonzalez
In 2014, the Latino Theater Company (LTC) re-ignited the Latinx theatre festival tradition, a...
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We Get There in the End: “Return to the Dirt” Pulls Back the Curtain on Life and Death in a Funeral Home
Review: Return to the Dirt, written by Steve Pirie and directed by Lee Lewis, Queensland Theatre I...
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Shahid Iqbal Khan’s “10 Nights” at the Bush Theatre: Moving Insight into Ritual and Belief
Since 9/11 there has been considerable interest in staging stories about British Muslims, and the...
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Hilary Mantel and Ben Miles’s The Mirror and the Light at the Gielgud Theatre: Engaging, but Rather Low Key
This is a labor of love. Hilary Mantel has adapted The Mirror and the Light, the third novel of...
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Bess Wohl’s “Camp Siegfried” at the Old Vic: Powerfully Chilling and Resonant
Are we too obsessed with Nazism? Apart from countless television programs which revisit that grim...
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Veteran Thespian Launches Collection of Original Plays
“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…”
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Ola Rotimi: The Enduring Influence of a Nigerian Theatre Giant
Twenty years after his death, the Nigerian dramatist Ola Rotimi is attracting renewed interest....
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Guide to the Classics: Samuel Beckett’s “Waiting for Godot,” a Tragicomedy for Our Times
Vladimir: Well? Shall we go? Estragon: Yes, let’s go. [They do not move.] Samuel Beckett...
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Ali Al-Zaidi: A Playwright Who Lives Through His Characters
Based on a recent phone interview with Al-Zaidi, the most prominent Iraqi playwright. Ali Al-Zaidi...
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Guide to the Classics: Samuel Beckett’s “Waiting for Godot,” a Tragicomedy for Our Times
Vladimir: Well? Shall we go? Estragon: Yes, let’s go. [They do not move.] Samuel Beckett...
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Laughing in Darkness: Reading Różewicz Anew
Tadeusz Różewicz (1921-2014) might need a few words of introduction for English-speaking readers,...
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“We Wish We’d Had This Show When We Were Kids”: Interview With “The Glitter Garden” Playwrights George Fowler and Lori Leigh
The Glitter Garden by George Fowler and Lori Leigh. Directed by Lori Leigh. Circa Theatre,...
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5 Reasons Why Verse Is the Language for Theatre in 2020s
While theatre in its early days existed in a strong relationship with verse, the social, cultural,...
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Playwright Tara Beagan Wins 2020 Siminovitch Prize In Theatre
November 26, 2020 – OTTAWA (Canada) – Ntlaka’pamux playwright Tara Beagan has been named the 2020...
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Exploring and Humanizing the Nuances of Black American History Through Theatre: Conversation With Playwright and Actor Stephen Sampson.
Driven by his appreciation for authenticity and history, Stephen Sampson created his theatre...
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“The Book of Magdalene” at Main Street Theater: Interview with Playwright Caridad Svich
When Rebecca Greene Udden graduated from Rice University, she decided to make Houston her...
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How to Write a Pandemic Play
Ten prompts for writing about the year 2020: 1) “It started with a slight cough, a rather dry...
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Searching for the Origin of the Korean Wave: The Nanhee’s MIMAJI!
The Korean theatre company The Nanhee premiered its new production Mimaji!, written and directed...
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