“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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Theatre and Politics
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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From Exile to Redemption
Solo Performers John Rwothomack and Fidaa Zidan join forces to unravel the discovery of life after political rallies and prison sentences in Lines.
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Obari Gomba’s Grit and the Politics of Vendetta
On 9th April, the University of Nigeria, Nsukka, produced Obari Gomba’s Grit directed by...
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Refugee Voices Take Centre Stage At UK Theatre Company
In a darkly lit arts studio in London, five young actors highlight their scripts and go over...
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How To Recognise Us? The Foreign Women In London: Theatre Review Of “Don’t Get Me Wrong”
Amidst the bustling metropolis of London, a group of aspiring theatrical talents (Kelly Guibal, Flavia Di Saverio, Thelma Osorio Euan, Maria Luc, Hana Tamaru, Arianna Folini) took to the stage at The Hen & Chicken Theatre in March 2024 to present their musical production, “Don’t Get Me Wrong”. Through their performance, they delved into the intricate tapestry of challenges and joys experienced by those navigating life in the vibrant yet daunting urban landscape of the UK’s largest city.
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I Wholeheartedly Recommend “The President:” A Brilliant Revival Of A Play Of Decay, Terror And Revulsion
Decay, terror, revulsion. These are three of the central themes of Thomas Bernhard’s rarely...
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Mad Spring Roundup
Well, it’s happened again. The torrid pace of new openings this spring has outstripped my ability...
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“Without a State:” a Collision Between Migration and the Perpetual Pursuit of Identity and Belonging
Southern Rhodesia (now Zimbabwe) is still in the hands of Britain, the colonial power, and several...
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Towards New Theatre in Europe: What Roles Can Multilingual Dramaturgies Play in Europe’s Future(s)?
Europa jest wielojęzyczna. Europe – as a geopolitical concept, its residents, communities, and...
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The Ally at the Public Theater in New York: Back to the Agora
Can one truly be sympathetic until the ultimate consequences to the problems of someone who is not...
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“London Zoo,” Southwark Playhouse
Before the internet, newspapers were central to the national conversation in Britain. By the first...
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