“Hadestown,” The Cult Album That Went To Broadway: “Hades Isn’t Based On Trump–But Trump Might Be Based On Hades”
Hadestown, a reworking of the Orpheus and Eurydice myth by American singer-songwriter Anais...
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United Kingdom
“The Hoes” at The Hampstead Theatre
Because of the #MeToo movement, and the revival of feminist protest, the theme of sisterhood now...
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Taking My Shoes Off: Dramaturgy By Movement
My mode of being, as a dramaturg, begins with looking and continues with language. Much of my work...
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Don DeLillo’s “Love-Lies-Bleeding” At The Coronet Theatre
Plays about old age are also often plays about death. This is certainly true of American novelist...
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Examining Gender Issues Through An Ancient Myth: 27 Degrees’ “Medusa” At Crypt Gallery
In Greek and Roman mythology, Medusa the Gorgon is a hideous, monstrous woman with snakes in place...
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A Tragedy With A Happy Ending: “The Emperor And The Concubine” By The China National Peking Opera Company At London’s Sadler’s Wells
The long-term collaboration between the China National Peking Opera Company (Guojia jingju yuan)...
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Nick Stafford’s “War Horse” At The National Theatre
In the days after the widespread commemorations of the 100th anniversary of the end of the first...
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Ecce Homo: “The Great Tamer,” By Dimitris Papaioannou. Dance Umbrella Festival 2018, London, Sadler’s Wells
A curved, declivitous, dark-grey hill, built from large, rectangular vinyl blocks–reminiscent of...
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“A Pupil” At Park Theatre
How do you judge artistic excellence? Is there such a thing as an objectively brilliant musician,...
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Zadie Smith’s “White Teeth” at The Kiln Theatre
You can see why artistic director Indhu Rubasingham chose to stage this version of Zadie Smith’s...
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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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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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