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“Hamlet²” (“Amleto²”)
Posted by Margaret Rose | 0
The Trans Excellence of Faggotica
Posted by Morgan Skolnik | 0
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...
“Between.Europe: Theatre In Romania.” Conversations And Visual Theatrical Exchanges Between Romania And Poland
by Teodora Medeleanu | 10th Feb 2026 | Essay, Festivals, Poland, Romania, Transcultural Collaborations
Somewhat on the fringes of the Poland-Romania Cultural Season, the 2025 Between.Pomiędzy Festival...


In Oldenburg’s “The Tempest,” Trusting The Text Pays Off
by Daniel Meyer-Dinkgräfe | 6th Feb 2026 | Directing, Germany, Review
NYC’s Under The Radar Festival Uses Lessons From The Past To Shape The Future
by Victoria Zavyalova | 9th Feb 2026 | Australia, Festivals, Review, United States of America
In January, the NYC Under the Radar Festival presented some of the most innovative and...


Bad Data
by Jonathan Kalb | 4th Feb 2026 | Playwriting, Review, United States of America

“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
Santiago’s Teatro a Mil 2026: theatre, democracy and artistic responsibility
by Maria Delgado | 4th Feb 2026 | Chile, Festivals, Review
There were two key themes running through this year’s Teatro a Mil, the Chilean capital’s...

Oscar Barney Finn and Paulo Brunetti Interview
by Jack Wernick | 20th Aug 2024 | Adaptation, Argentina, Interview



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Most Popular Posts
Santiago’s Teatro a Mil 2026: theatre, democracy and… by Maria Delgado 4th February 2026
NYC’s Under The Radar Festival Uses Lessons From The… by Victoria Zavyalova 9th February 2026
Raising Fists and Sharing Bread: Tiziano Cruz’s… by Yizhou Zhang 5th February 2026
“The Phantom Of The Opera” Returns To Mexico: A… by Lorena Meeser 12th December 2025 In Oldenburg’s “The Tempest,” Trusting… by Daniel Meyer-Dinkgräfe 6th February 2026
In the City of al-Sayyab, Theatre Still Speaks by Amir Al-Azraki 19th February 2026 Kia Mau Festival Brings Hana Keaka (Hawaiian… by David O'Donnell 29th January 2026
Frantic Assembly’s “Lost Atoms” at the… by Aleks Sierz 9th February 2026 Martin Crimp’s Version Of “The Seagull”… by Daniel Meyer-Dinkgräfe 26th January 2026
The Trans Excellence of Faggotica by Morgan Skolnik 13th February 2026
Recent Posts
- Olga Braga’s “Donbas” at Theatre 503: Complex Account Of The Start Of The Ukraine War Is Deeply Humanistic 20th February 2026
- In the City of al-Sayyab, Theatre Still Speaks 19th February 2026
- Terence Rattigan’s “Man and Boy” at the National Theatre: Rare 1960s Rattigan Play Gets A Meta-Theatrical Revival 19th February 2026
- “Hamlet²” (“Amleto²”) 17th February 2026
- The Trans Excellence of Faggotica 13th February 2026
- “Between.Europe: Theatre In Romania.” Conversations And Visual Theatrical Exchanges Between Romania And Poland 10th February 2026
- NYC’s Under The Radar Festival Uses Lessons From The Past To Shape The Future 9th February 2026
- Frantic Assembly’s “Lost Atoms” at the Lyric Hammersmith: 30th Anniversary Show Is About Love But Its Story Is Predictable And Bland 9th February 2026
- “The Devil Wears Prada” and Other Musicals by Sir Elton John. 8th February 2026
- The “Screen / Stage” Programme At The Between.Pomiędzy Festival 2025 6th February 2026


























