Dialoguing With The Classics In Madrid: “La Fortaleza/The Fortress” And “Macho Grita/Alpha Male Shouts”
Twenty-first-century theatre practitioners in the west typically fear irrelevance more than...
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Theatre and Politics
“Wine & Halva:” Post-Migration And The Limits Of Western Liberalism
It is May 4, 2024, in Montreal, and I walk on Rue Bélanger as the night is approaching on this...
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Wajdi Mouawad’s “Littoral”: Searching for Peace Through the Devastation of War
Sejong Center for the Performing Arts (artistic director, Sun-Woong Koh) staged the play Littoral...
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Miss Julie: Amy Ng Brings A “Problem Play” To Hong Kong
Amy Ng has a problem. The Hong Kong-raised, London-based playwright is holed up in a Causeway Bay...
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Make Your Classroom Multilingual: On Training Students For Rapidly Changing Cultural Landscapes
How do we train students to work within rapidly changing landscapes and for a theatre of the...
Read More![Medea as a Border-Body [Part I]](https://thetheatretimes.com/wp-content/uploads/2024/06/Image-2-627x376.jpg.webp)
Medea as a Border-Body [Part I]
Perhaps the 2024 production of La MaMa’s Medea, under Zishan Ugurlu’s direction and reimagining,...
Read MoreMedea as a Border-Body [Part II]
To read PART I of this essay, go to this link. The snake that Medea uses to make her...
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Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 1.
I first encountered Dmytro Ternoviy through my Worldwide Ukrainian Play Readings project. His...
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Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 2.
This is Part 2 of the interview with Dmytro Ternoviy. For Part 1, go here. Dmytro Ternoviy’s...
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New Play “American Signs” Looks At The Nefarious World Of Consultancies – But Leaves Australia Off The Hook
Anchuli Felicia King’s new one-performer piece, American Signs, written for the talented Catherine...
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“The Constituent,” Old Vic
Good timing — as the UK’s general election campaign goes into its final week, this large-scale...
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Ali Asghar Dashti & Nasim Ahmadpour – “We Came To Dance” (Kunstenfestivaldesarts)
“Can we fundamentally give a dancer an order to stop moving? […] Is dance not defined as the...
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Sanaz Toossi’s English at the Kiln Theatre: Pulitzer Prize-Winning Play Shows the Impacts of a Second Language on Identity
Sanaz Toossi’s English at the Kiln Theatre: Pulitzer Prize-winning play shows the impacts of a second language on identity
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Theatre as Confrontation: Catherine Filloux’s “How to Eat an Orange” at La MaMa
Catherine Filloux is an internationally recognized French-Algerian playwright. Her work revolves...
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“Lie Low,” Royal Court
Faye is okay. Or, at least she says she’s okay. But is she really? And, if she really is okay,...
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Holes In The Hole
When I first heard that Suzan-Lori Parks had taken up the story of Thomas Jefferson and Sally...
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“Between Riverside And Crazy,” Hampstead Theatre
It’s often said that contemporary American playwrights are too polite, too afraid of giving...
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“Symphonie Of The Bicycle:” On The Desire To Be Great, And The Desire To Live A Life With Great Meaning
Symphonie of the Bicycle is a tour de force. Actor and writer Hew Parham takes the audience...
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“English,” a Gate to Enriching Desired Dreams
Do you speak any languages besides your mother tongue, especially as an adult learner? How do you...
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“Earworm:” Entangled in the Political Landscape
Toronto’s theatre scene thrives on its multicultural identity, a modern-day Tower of Babel...
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