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...
In the City of al-Sayyab, Theatre Still Speaks
by Amir Al-Azraki | 19th Feb 2026 | Essay, Iraq, Theatre and Politics
Basra is shaped by louder forces such as oil, politics, and the constant negotiation of visible...
“Digital Access To The Performing Arts” Released Open Access
by The Theatre Times | 7th Mar 2026 | Australia, Books, Essay, Europe, Transmedia, United Kingdom, United States of America
The newly published book Digital Access to the Performing Arts: A Comparative Study of Legal and...

Picasso’s “Barber” At The Spanish National Theatre
by Duncan Wheeler | 24th Feb 2026 | Directing, Management, Review, Spain
A Beer And A Mop
by Jonathan Kalb | 7th Mar 2026 | Acting, New York, Playwriting, Review, United States of America
Jake Brasch’s The Reservoir tells the story of a charmingly self-deprecating, openly gay NYU...
Monster Mash
by Jonathan Kalb | 3rd Mar 2026 | Acting, New York, Review, United States of America

The Trans Excellence of Faggotica
by Morgan Skolnik | 13th Feb 2026 | LGBTQ+ Theatre, New York, Review


Isolation, Consumer Desire and the Human Spirit: A Review of “The Chair and the Cello”
by David O'Donnell | 2nd Mar 2026 | Devised Theatre, New Zealand
By a fortuitous coincidence, a new theatre-work The Chair and The Cello – which features an...
Raising Fists and Sharing Bread: Tiziano Cruz’s “Wayqeycuna” (Argentina)
by Yizhou Zhang | 5th Feb 2026 | Argentina, Canada, Review, Theatre and Decolonization
A shimmering Andes mountain range made of light and weave. The sound of rattling bells. A...


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


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Most Popular Posts
Olga Braga’s “Donbas” at Theatre 503: Complex… by Aleks Sierz 20th February 2026
In the City of al-Sayyab, Theatre Still Speaks by Amir Al-Azraki 19th February 2026
Terence Rattigan’s “Man and Boy” at the National… by Aleks Sierz 19th February 2026 Santiago’s Teatro a Mil 2026: theatre, democracy and… by Maria Delgado 4th February 2026
“The Phantom Of The Opera” Returns To Mexico: A… by Lorena Meeser 12th December 2025
Isolation, Consumer Desire and the Human Spirit: A… by David O'Donnell 2nd March 2026 The Trans Excellence of Faggotica by Morgan Skolnik 13th February 2026
“Is Love Energy Or Matter?” An Interview With Rok… by Ivanka Apostolova Baskar 11th March 2026
Picasso’s “Barber” At The Spanish… by Duncan Wheeler 24th February 2026 “The Devil Wears Prada” and Other… by Lisa Monde 8th February 2026
Recent Posts
- Romeo Castellucci “Believing In Masks” At Milan’s Fog Festival 13th March 2026
- “Last Call” Brings Us Closer To Bernstein And Von Karajan 13th March 2026
- “Is Love Energy Or Matter?” An Interview With Rok Vilcnik, Slovenian Playwright, Author, Musician, Poet 11th March 2026
- The Piccolo Theatro’s “Miracle In Milan” 11th March 2026
- “An Enemy Of The People:” An Oblique Look At Democracy From Schaubühne Berlin 9th March 2026
- A Beer And A Mop 7th March 2026
- “Digital Access To The Performing Arts” Released Open Access 7th March 2026
- Dea Loher’s New Play “Frau Yamamoto Ist Noch Da” In Bremen And Osnabrück 5th March 2026
- Monster Mash 3rd March 2026
- Isolation, Consumer Desire and the Human Spirit: A Review of “The Chair and the Cello” 2nd March 2026





















