Worldwide
Truth and Reconciliation in “Under the Shade of a Tree I Sat and Wept” – Kosovo
by Verity Healey | 2nd Jan 2026 | Kosovo, Review, South Africa
How do forgiveness and reconciliation projects help heal a country’s collective trauma and...
Writing Across Taiwan and Macau: An Interview with Taiwanese Playwright Chiao-Jung Chen
by Kuan-Ting Lin | 6th Jan 2026 | Interview, Playwriting, Taiwan
It’s very hard to define Chiao-Jung Chen as one kind of artist, for she is someone who works...
Sharing Crafts, Or Laboratory Space
by Kiki Selioni | 12th Jan 2026 | Essay, Poland, Transcultural Collaborations
Encounters between artists and practitioners are invariably profound experiences, where knowledge...

“With Ruby and I” – review – more McDonagh than Robinson
by Verity Healey | 3rd Jan 2026 | Review, United Kingdom

Leading with Risk, Trust, and Intuition: An Exclusive Interview with Director Charles Newell on Berlin’s Rehearsal Room
by Susanna Sun | 7th Jan 2026 | Chicago, Directing, Interview, United States of America
A towering figure in Chicago theatre, Charles Newell—former Marilyn F. Vitale Artistic Director of...
“The Butterfly Who Flew Into The Rave”, Edinburgh Festival Fringe 2025
by Duška Radosavljević | 24th Aug 2025 | Edinburgh 2025, Festivals, New Zealand, United Kingdom
Oli Mathiesen’s dance piece The Butterfly Who Flew Into The Rave has been described by this...

Bell Shakespeare’s New “King Lear” Understands The Joy Of A Good Tragedy
by Kirk Dodd | 20th Jul 2024 | Australia, Dramaturgy, Review, Sydney
Oscar Barney Finn and Paulo Brunetti Interview
by Jack Wernick | 20th Aug 2024 | Adaptation, Argentina, Interview
I had the opportunity to interview frequent collaborators, writer-director Oscar Barney Finn and...
Like Us On Facebook

Most Popular Posts
Truth and Reconciliation in “Under the Shade… by Verity Healey 2nd January 2026
Sharing Crafts, Or Laboratory Space by Kiki Selioni 12th January 2026
Writing Across Taiwan and Macau: An Interview with… by Kuan-Ting Lin 6th January 2026
“The Phantom Of The Opera” Returns To Mexico: A… by Lorena Meeser 12th December 2025 “With Ruby and I” – review –… by Verity Healey 3rd January 2026
“El entusiasmo” (The Enthusiasm) at… by Maria Delgado 26th December 2025
Echoes of a Crumbling Republic: Review of… by Susanna Sun 4th January 2026
What Happens In Mecca, Stays In Mecca:… by Marina Johnson 31st December 2025
Alan Ayckbourn’s Woman in Mind at the Duke of York’s… by Aleks Sierz 8th January 2026 Edinburgh Festival Fringe 2025: Provisional Futures… by Duška Radosavljević 25th August 2025
Recent Posts
- Kia Mau Festival Brings Hana Keaka (Hawaiian Language Theatre) to Aotearoa: “Puana” by Tammy Haili‘ōpua Baker 29th January 2026
- “Before The Storm” (“Prima Del Temporale”) At Milan’s Piccolo Teatro 27th January 2026
- How to Make Rube Goldberg Punk Rock: Narcissister’s “Voyage Into Infinity” 27th January 2026
- Martin Crimp’s Version Of “The Seagull” Makes It To The German Stage 26th January 2026
- Under The Radar Fest: Testo 23rd January 2026
- Sharing Crafts, Or Laboratory Space 12th January 2026
- For Bremen’s Re-Launched Packhaustheater, The Emphasis Shifts From Local Topics To Local Acting Celebrities 8th January 2026
- Alan Ayckbourn’s Woman in Mind at the Duke of York’s Theatre: Starry West End Staging Is More Visually Delightful Than Emotionally Compelling 8th January 2026
- Leading with Risk, Trust, and Intuition: An Exclusive Interview with Director Charles Newell on Berlin’s Rehearsal Room 7th January 2026
- Writing Across Taiwan and Macau: An Interview with Taiwanese Playwright Chiao-Jung Chen 6th January 2026
| M | T | W | T | F | S | S |
|---|---|---|---|---|---|---|
| 1 | ||||||
| 2 | 3 | 4 | 5 | 6 | 7 | 8 |
| 9 | 10 | 11 | 12 | 13 | 14 | 15 |
| 16 | 17 | 18 | 19 | 20 | 21 | 22 |
| 23 | 24 | 25 | 26 | 27 | 28 | |

























