Worldwide

Lessing’s “Emilia Galotti” As Director...

Posted by Daniel Meyer-Dinkgräfe | 0

Unbound Curation – The Freedom Of Programmin...

Posted by Ivanka Apostolova Baskar | 0

“Tired” Of Consuming Postdramatic Thea...

Posted by Ivanka Apostolova Baskar | 0

Shakespeare In The Park At The New Delacorte Theat...

Posted by Cristina Modreanu | 0

To Embrace Vulnerability As One Of My Greatest Str...

Posted by Ivanka Apostolova Baskar | 0

Africa

Post-Colonial B-Horror: “The Visitors” at Volksbühne Berlin

by Yizhou Zhang | 5th Sep 2024 | Germany, South Africa, Theatre and Dance, Theatre and Decolonization

This summer, Berlin’s Volksbühne presented The Visitors, a new work by the choreographer Constanza...

The Many Publics Of “The Marché Des Arts Du Spectacle D’Abidjan”

by Brian Valente-Quinn | 30th Jul 2024 | Côte d'Ivoire, Essay, Festivals, Transcultural Collaborations
Miangaly Theatre Company: Defining the Stage in Madagascar

by Lalatiana Andréa Rasamoelina | 3rd Jul 2024 | Essay, Madagascar, Management
“My Father’s Fable,” Bush Theatre

by Aleks Sierz | 25th Jun 2024 | Nigeria, Review, United Kingdom
Theatre as Confrontation: Catherine Filloux’s “How to Eat an Orange” at La MaMa

by Rhiannon Ling | 4th Jun 2024 | Algeria, France, Interview, Theatre and Politics

Asia

We Passed Through The Wall Of Sorrow Together

by Mehdi Shahedi | 26th Aug 2025 | Essay, Iran, Theatre and Politics

We are an avant-garde theatre group, and after our successful performance of The History Boys by...

Who’s Afraid of the Public? Reports from the Daehangno X Forum on the Shut-Down of TheatreIn

by Soo Ryon Yoon | 4th Aug 2025 | Featured, Management, News, South Korea, Theatre and Gender, Theatre and Politics
Decolonizing Iraqi Theatre: Why We Need to Stop Quoting the West

by Amir Al-Azraki | 3rd Aug 2025 | Essay, Iraq, Theatre and Decolonization
Ambiguous Space: A Review of the Chinese Play “L’histoire d’un Accident” at Avignon 2025

by Xunnan Li | 26th Jul 2025 | Avignon 2025, China, Chinese Theatre Abroad, Design, Review
Chinese Traditional Theatre in the UK: Interview with Joanna Zenghui Qiu on the 10th Anniversary of the UK Chinese Opera Association

by Xunnan Li | 24th Jul 2025 | China, Chinese Theatre Abroad, News, Theatre and Opera

Europe

Edinburgh Festival Fringe 2025 in 22 Shows

by Mert Dilek | 28th Aug 2025 | Edinburgh 2025, Review, United Kingdom

This year’s Edinburgh Festival Fringe was as sprawling and invigorating as ever, and expectedly...

“When Billy Met Alasdair” At The Scottish Storytelling Centre, Edinburgh Festival Fringe 2025

by Margaret Rose | 27th Aug 2025 | Edinburgh 2025, Review, United Kingdom
I Hold On To The Beautiful Side Of Theatre

by Ivanka Apostolova Baskar | 27th Aug 2025 | Directing, Interview, Macedonia
Edinburgh Festival Fringe 2025: Provisional Futures in a World on Fire

by Duška Radosavljević | 25th Aug 2025 | Edinburgh 2025, Essay, Theatre and Politics, United Kingdom
German Summer Festival Theatre (2): Domfestspiele Verden, “Die Zündholzfrau”

by Daniel Meyer-Dinkgräfe | 25th Aug 2025 | Festivals, Germany, Review

North America

“Buen Camino,” Edinburgh Festival Fringe 2025

by Margaret Rose | 13th Aug 2025 | Edinburgh 2025, Review, Scotland, United States of America

‘Dare to Discover’ is the leitmotiv of the 2025 Edinburgh Fringe running from 1st to 25th August....

Gotta Spoof ‘Em All: “Balls: The Monster-Catchin’ Musical Comedy” Parodies Pokémon in NYC

by Andrew Agress | 13th Aug 2025 | Musical Theatre, New York, United States of America
An Exploration Through The Convoluted Layers Of “Blind Runner”

by Mona Mirzaei | 30th Jul 2025 | Review, Theatre and Politics, United States of America, Worldwide
“Pirates! The Penzance Musical.” An Exclusive Interview with Ramin Karimloo – The “glorious” Pirate King.

by Lisa Monde | 22nd Jul 2025 | Interview, Musical Theatre, United States of America
School Camp

by Jonathan Kalb | 19th Jul 2025 | Review, Theatre and Gender, United States of America

Oceania

“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...

Sam Kissajukian’s “Three Hundred Paintings,” Edinburgh Festival Fringe 2025

by Margaret Rose | 19th Aug 2025 | Australia, Edinburgh 2025, Review, United Kingdom
Electrifying Ensemble Performance and Political Satire in New Māori Play: “Unreel” by Helen Pearse-Otene

by David O'Donnell | 15th Oct 2024 | Education, New Zealand, Review, Theatre and Decolonization
“Macbeth (An Undoing)”: A New Take That Aims To Reimagine Lady Macbeth’s Path – But Ultimately Leaves You Guessing

by Kate Hunter | 24th Jul 2024 | Adaptation, Australia, Review
Bell Shakespeare’s New “King Lear” Understands The Joy Of A Good Tragedy

by Kirk Dodd | 20th Jul 2024 | Australia, Dramaturgy, Review, Sydney

South America

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...

Sergio Blanco’s “When You Pass Over My Tomb” at the Arcola Theatre: Exquisite Meta-Theatrical Exploration Of Death and Necrophilia

by Aleks Sierz | 14th Feb 2024 | Adaptation, London, Playwriting, Review, United Kingdom, Uruguay
A Beginner’s Guide To Santiago a Mil 2024: 10 Key Takeaways From One of Latin America’s Most Important Theatre Festivals

by Maria Delgado | 6th Feb 2024 | Chile, News, Santiago a Mil 2024
Dealing with a Difficult Past: Guillermo Calderón’s “Villa” at Santiago a Mil

by Maria Delgado | 24th Jan 2024 | Chile, Review, Santiago a Mil 2024
Actor on the Verge of a Nervous Breakdown: “El Brote” (The Break) at Santiago a Mil

by Maria Delgado | 23rd Jan 2024 | Chile, Review, Santiago a Mil 2024

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Recent Posts

Lessing’s “Emilia Galotti” As Directorial Debut In Bremen 9th September 2025
Unbound Curation – The Freedom Of Programming Without Frames 5th September 2025
“Tired” Of Consuming Postdramatic Theatre (Contemporary Theatre Often Lacks Strong Dialogue) 31st August 2025
Shakespeare In The Park At The New Delacorte Theater: Love Is Gender Fluid 30th August 2025
To Embrace Vulnerability As One Of My Greatest Strengths (Stronger, Braver, Vulnerable) 28th August 2025
Edinburgh Festival Fringe 2025 in 22 Shows 28th August 2025
“When Billy Met Alasdair” At The Scottish Storytelling Centre, Edinburgh Festival Fringe 2025 27th August 2025
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We Passed Through The Wall Of Sorrow Together 26th August 2025
Edinburgh Festival Fringe 2025: Provisional Futures in a World on Fire 25th August 2025

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