Léonora Miano On “What Must be Said”
The stage adaptation of Léonora Miano’s Ce qu’il faut dire (or “What Must be Said”) addresses a...
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Theatre and Decolonization
The Theatre We Want In 2040? We Used “Strategic Foresight” To Plan On The Prairies
Does it seem far-fetched to imagine a future where the government subsidizes theatres and theatre...
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Exploring Palestinian Allyship in “Decolonizing Sarah”
Hummus is not appropriated hipster dip, it’s Palestinian food. So argues Wally, a...
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How British Theatre Censorship Laws Have Inadvertently Created a Rich Archive of Black History
In an age of so-called “cancel culture” it’s important to remember that for much of British...
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“Three Sisters,” National Theatre
Earlier in the week, I enjoyed a rainy afternoon at home by watching Inua Ellis’s 2019 adaptation...
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“Ain’t No Mo Play” on Broadway at Belasco Theatre
The young playwright Jordan E. Cooper deserves kudos for writing the play Ain’t No Mo. He is...
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Black Theatre in Asia—Spotlight Query
It began as a direct message conversation between two black creatives: Ghanniy Oyedele from...
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The Blackest Raisin: “A Raisin in the Sun” at The Public Theatre
Lorraine Hansberry’s A Raisin in the Sun, as anyone reading this knows, is a cornerstone of...
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Sudha Bhuchar’s Evening Conversations at the Soho Theatre: A Calmly Intelligent Exploration of Family Identity
Sudha Bhuchar’s Evening Conversations at the Soho Theatre: a calmly intelligent exploration of family identity
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Writing about African Arts 2022: Call for Participants
The African Theatre Magazine invites applicants to the second edition of the Writing about African...
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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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Young Europe IV: Non-Dominant Voices in European Youth Theatre. Interview with Zoe Apostolidou and Emel Aydoğdu.
Young Europe IV is a large-scale artistic collaboration project to tackle the dominance of stories...
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A Blast from the Past: Les Champignons de Paris by La Compagnie du Caméléon
On June 13, 2022, I spoke with Guillaume Gay, who is operational and artistic director of the...
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When Playwrights Complicate Dramatic Form: Recent Developments in African American Plays of the 2010s
African American drama, theater and performance has a rich and complex history. Only recently,...
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Five Myths About Shakespeare’s Contribution to the English Language
Shakespeare’s language is widely considered to represent the pinnacle of English. But that status...
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Haunted History in Cottage Country: “Cottagers and Indians”
Cottagers and Indians by Drew Hayden Taylor A lazy afternoon on a cedar deck that could be...
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Learning From Scratch: Istanbul Theatre Through a Canadian-Armenian Lens. Interview with Art Babayants.
Dr. Art Babayants is a multilingual artist-scholar who lives and works in what is now called...
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“The Fellowship,” Hampstead Theatre
I live in Brixton, south London. A few days ago, the borough’s aptly named Windrush Square hosted...
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“Bronx Gothic” by Okwui Okpokwasili
On May 8, 2022, Nigerian-American artist Okwui Okpokwasili’s Bronx Gothic (2014) at...
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Cut From Different Cloth: “Intimate Apparel” at Mitzi E. Newhouse Theater
I went to the new opera Intimate Apparel because the 2003 play it was made from is one of my...
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