United Kingdom Archives - Page 50 of 54

Shakespeare’s Globe Emma Rice Bows Out With Defiant Political Season

Posted by Adam Sherwin | 7th Feb 2017 | Theatre and Politics, United Kingdom

Emma Rice, the artistic director of Shakespeare’s Globe ousted for introducing modern sound and...

Theatre Review: Chekhov’s “Three Sisters” At The Union Theatre

Posted by Andreea Scridon | 6th Feb 2017 | London, Review, Russia, Russian Theatre Abroad, Transcultural Collaborations, Translation, United Kingdom, United States of America

Simplified Production Deserves The Benefit Of The Doubt. Tracy Letts’ adaptation of Chekhov’s 1900...

Theatre, Technology, and “The Tempest” – Interview With Sarah Ellis

Posted by Ágnes Bakk | 5th Feb 2017 | Interview, London, Participatory Theatre, Transmedia, United Kingdom

Sarah Ellis is the head of digital development at the Royal Shakespeare Company. She first studied...

London: Three Controversies About National Identity

Posted by Aleks Sierz | 4th Feb 2017 | Essay, Theatre and Politics, United Kingdom

This year has got off to a very slow start, with exciting new British plays being exceedingly...

Interview: Evgeny Goremykin Of London Russian Ballet School

Posted by Leah Lord | 3rd Feb 2017 | Interview, London, Russia, Theatre and Dance, United Kingdom

The London Russian Ballet School is unique in its offer of an authentically Russian ballet...

Remembering Sarah Kane

Posted by Aleks Sierz | 3rd Feb 2017 | Essay, Playwriting, Theatre and Gender, United Kingdom

When Sarah Kane was still alive, it was vital to support her work — her style was so raw, so...

“Bat Out of Hell”—The Musical Opens in Manchester. Interview With Director Jay Scheib

Posted by Marcina Zaccaria | 2nd Feb 2017 | Directing, Interview, Musical Theatre, United Kingdom

Jim Steinman’s Bat Out of Hell – The Musical is opening with a burst of energy at the...

“Peter Pan Goes Wrong” But Gets Comedy Right

Posted by Jeff Robson | 1st Feb 2017 | Adaptation, Review, United Kingdom

The antithesis of some of the slick, accomplished television premieres of the festive season was...

From “The Hypocrite” to “Hamilton”: Six Must-See Theatre Shows to Book in London

Posted by Alice Jones | 30th Jan 2017 | London, News, Review, United Kingdom

The Hypocrite Could this be the new One Man, Two Guvnors? Richard Bean is back, with a riotous new...

“Hedda Gabbler” Adaptation Has Too Much Direction

Posted by Aleks Sierz | 27th Jan 2017 | Adaptation, Review, United Kingdom

Theatre conventions are a funny thing. Nowadays, it’s actually quite difficult to see a modern...

A History Of The Transient In-Yer-Face Theatre

Posted by Aleks Sierz | 24th Jan 2017 | Essay, United Kingdom

Whether or not it really is a foreign country, the past has a tendency to feel like it’s a long...

Howard Barker and The Curious Case of the Chinese Play With the All-white Cast

Posted by Alice Jones | 22nd Jan 2017 | London, News, Theatre and Politics, United Kingdom

This week, In the Depths of Dead Love opened at The Print Room in London. The play, by Howard...

Musical About Fidel Castro Aims to Present Historical Complexity

Posted by Denise Baden | 22nd Jan 2017 | Cuba, News, Theatre and Politics, United Kingdom

The response to the death of Cuban revolutionary leader Fidel Castro has been striking for its...

Building Bridges: A Transcultural Collaboration Between Spain and the UK

Posted by Aida Rocci | 19th Jan 2017 | News, Spain, Transcultural Collaborations, United Kingdom

Rodrigo Arribas (from Span’s Fundación Siglo de Oro) describes the transnational collaborative process that gave rise to his company, which has been the first to present a non-English speaking author at the Shakespeare Globe. Reflecting on the models that have arisen from the collaboration between Spain and the UK, he reflects on what differentiates and unites us in theatre.