Peking Opera At The British Library: The Triumph Of Xieyi
As part of the China Focus Events Series, the British Library, in collaboration with Sinolink...
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United Kingdom
Luke Barnes’s “All We Ever Wanted Was Everything” At The Bush Theatre
Sometimes, just sometimes, I see a show which makes me wish that all theatre could be like this. A...
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Telling A Thai Tale: A Dance Dramaturg’s Take
“When I collaborate, I want to collaborate with the wrong person.” Pichet Klunchun, Thai dancer,...
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It’s Ella Hickson’s Moment (Of Honesty)
How her truth split critics and why she doesn’t really care Ella Hickson stopped worrying...
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“Company” Review, Gielgud Theatre: “You Can’t Imagine It Being Staged Any Other Way Again”
This is a game-changer. “Radical update” is a phrase that is all too often bandied about in...
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“We Will Not Be Silent”: A Story Of Anti-Fascist Youth
David Meyers’ We Will Not Be Silent, now playing at the New Repertory Theatre at the Mosesian...
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Nina Raine’s “Stories” at The National Theatre
In 2017, playwright Nina Raine’s Consent, an excellent National Theatre play about lawyers and...
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Theatre Review: Xameleon Theatre’s “The Little Prince”–”A Play For Young And Old”
First published in 1943 in New York, the story of the little prince and his travels hasn’t lost...
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debbie tucker green’s “ear for eye” At The Royal Court
Two countries; two histories. Being black in the US; being black in the UK. Compare and contrast....
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“Artificial Things”: An Introduction
Artificial Things [i] (directed by Sophie Fiennes) is a re-imagination of a contemporary dance...
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The Futility Of Mediated Communication: “Together” At Camden Underground
Exploring the common phenomenon of livestream communication in modern society, the performance...
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An Intricate Rumination On The Partnership Between Music And Dance
Concert, By Colin Dunne, Dance Umbrella Festival 2018, London, Barbican The important thing about...
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Martin Crimp’s “Dealing With Clair” At The Orange Tree Theatre
On the morning when this stylish revival of Martin Crimp’s 1988 play opens, I wake up to the news...
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“There Was No Evidence That I Was Spying For Russia. I Was Just Queer.”
Oberon founder James Hogan writes about his experiences as a gay man in 1960s London, and why he...
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Bryony Kimmings’ “I Am A Phoenix, Bitch”
On Friday, March 13, 2015, the Grand Hall at Battersea Arts Centre in South London went up in...
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David Edgar’s “Trying It On” At The Royal Court
Playwright David Edgar is lucky. To begin with, he appreciates his luck in having been born in...
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“Frankenstein: How To Make A Monster” at Battersea Arts Centre
Part of the Phoenix Season at the newly re-opened Grand Hall at Battersea Arts Centre is also BAC...
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Martin McDonagh’s “A Very Very Very Dark Matter” At The Bridge Theatre
It’s all in the title, isn’t it? Martin McDonagh’s surreal new play comes with a warning that not...
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Joy Wilkinson’s “The Sweet Science Of Bruising” at The Southwark Playhouse
There are not that many plays about sport, but, whether you gamble on results or not, you can bet...
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Footwork Against Corruption: Via Katlehong And Gregory Maqoma’s “Via Kanana,” Dance Umbrella Festival, London
The platform stage erected in Shoreditch Town Hall’s grand Victorian assembly room is receiving a...
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