“La realidad”, Or How to Build Fake News
The premiere of La realidad, the new play by Darío Facal and Pedro Cantalejo, was in March at the...
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Spain
5 Reasons Why Verse Is the Language for Theatre in 2020s
While theatre in its early days existed in a strong relationship with verse, the social, cultural,...
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Surge Madrid 2020: The Nonstop Alternative Theatre Festival
Surge Madrid is a performing arts festival that usually takes place in May. However, this year it...
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The End of An Era: Goodbye and Thank-you to the Pavón Teatro Kamikaze
It’s December 22nd, not quite the night before Christmas but not far off, and the news has just...
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Fariña: Cocaine Coast Docks in Madrid
Madrid is the European capital worst hit by COVID-19. There nevertheless remains more theatrical...
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#TeatroConfinado: Spanish Theater’s Answer to the Pandemic
The COVID-19 pandemic has closed theaters around the world, including New York’s Broadway and...
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Culture Matters: Lluís Pasqual, Pedro Almodóvar and Spain’s Cultural Sector Respond to the Seeming Indifference of the Country’s Minister of Culture
There was a moment on April 7th when the vision for culture in Spain under Covid-19 looked pretty...
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Juan Mayorga: A View from Madrid
In late March, as Spain experienced the effects of Coronavirus lockdown, publishing house uÑa RoTa...
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Milo Rau: A Controversial Stage Director Visits Madrid
When Milo Rau arrives in a city, he attracts the attention of theater journalists, professionals,...
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Catalonia Under the Scalpel in Guillem Clua’s impressive “Justícia/Justice”
Guillem Clua has produced a varied body of work for the Catalan theatre. His plays sometimes have...
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Festival Místicas: How to Perform Ancient Religious Texts in the 21st Century
It is autumn in Madrid, Spain. A small group of theatergoers has arrived at Zapadores, a new art...
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Staging Forgotten Histories: “Kingdoms” at the Sarmiento Theatre
Romina Paula is perhaps best known outside Argentina for her work as an actress in seminal films...
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“Denarius World:” Exorcising Tragic Reality with the Farce
“Denarius World is simple and happy on the surface. Everything is fast-paced, instantaneous...
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Tribalism, Tragedy and Torment: Yaël Farber’s “Blood Wedding” at the Young Vic
Federico García Lorca’s rural trilogy, written in the period between 1932 and 1936 as social...
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Nora is Back: “A Doll’s House, Part 2” on The Catalan Stage
Lucas Hnath takes a “what if” scenario as the central conceit of his sequel to Ibsen’s A Doll’s...
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“The Bonds of Interest”: Jacinto Benavente’s Renewal of Spanish Theatre (1907), A Significant Choice for This New Odyssey Beginning
The Bonds of Interest is thought to be Jacinto Benavente’s most important play because it bridged...
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Odyssey Theatre’s “The Bonds of Interest”: Bringing New Form to Spanish Theatre
The Bonds of Interest is thought to be Jacinto Benavente’s most important play because it bridged...
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Re-Staging The Past: “Copenhagen” at Madrid’s Abadía Theatre
Buenos Aires director Claudio Tolcachir has good reason to call Madrid his second home. His Timbre...
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10 Years On: Miguel del Arco’s “The Play to Be Done” In Its Swansong Run
It has been a decade since Miguel del Arco—now one of Spain’s most admired directors— burst onto...
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Lorca, Lopez, and Translating Desire: “Yerma” at the Huntington Theater Company
Yerma, the titular character of Federico García Lorca’s play is terribly desperate. She...
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