Guilt And Resilience, And “The Fear Of 13”
What if the guilt one feels on the death row is not for what he has (allegedly) done? The Fear of...
Read MorePosted by Teodora Medeleanu | 3rd May 2026 | Acting, Adaptation, New York, Review, United States of America
What if the guilt one feels on the death row is not for what he has (allegedly) done? The Fear of...
Read MorePosted by Teodora Medeleanu | 27th Apr 2026 | Review, Theatre and Gender, United States of America
Perhaps one of the strangest experiences one can have when moving to a new place is watching a...
Read MorePosted by Aleks Sierz | 25th Apr 2026 | Devised Theatre, Review, United Kingdom, United States of America
At a time when, in the post-Brexit years, British theatre is increasingly insular, a visit by the...
Read MorePosted by Teodora Medeleanu | 24th Apr 2026 | Musical Theatre, Review, United States of America
In a small town, where nothing really happens, K. works at VHS World, alongside her teenage...
Read MorePosted by Jonathan Kalb | 10th Apr 2026 | New York, Review, United States of America
Mark Rosenblatt’s new play Giant is a sensational, admirable, and courageous effort to Make...
Read MorePosted by Jonathan Kalb | 9th Apr 2026 | Adaptation, New York, Review, United States of America
The new stage adaptation of Dog Day Afternoon just opened on Broadway, directed by Rupert Goold,...
Read MorePosted by Marcina Zaccaria | 7th Apr 2026 | Interview, New York, Playwriting
was a student of Lee Strasburg in his private class. I was directing around town, off-off Broadway, and in other areas in New York. I was invited to go to his Directors Unit at The Actors Studio for my first play that I was going to direct. I actually sat down and wrote a play, a one act play. When my play was acted at The Actors Studio, Cheryl Crawford brought in a financial man to hopefully give money to the Studio. He was so moved by the play that he gave $50,000 to the actual Studio. Lee Strasburg, who doesn’t show much emotion, was deeply moved by the play, and he encouraged me to really continue writing plays.
Read MorePosted by Lisa Monde | 2nd Apr 2026 | Interview, Musical Theatre, United States of America
Dedicated to the composer’s 25th Broadway anniversary David Yazbek burst onto Broadway a...
Read MorePosted by Marcina Zaccaria | 25th Mar 2026 | Featured, Festivals, Interview, New York
It is ridiculous to think that it’s not enough to curate a Festival. I would stack up our good to bad ratio against any network season, any Hollywood studio, any program season. It’s impossible to look at a script six months out and know what you’re going to have on stage. It’s just not possible. I’ve helped curate too many Festivals to know that what we read has nothing to do with what ends up on stage, so this method is has been tested since 2007, and we have some amazing shows come through here.
Read MorePosted by Alexander Fatouros | 24th Mar 2026 | New York, Review, Theatre and Art, United States of America
If you’ve ever felt like you were just playing a part in your own life—waiting for a big break or...
Read MorePosted 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...
Read MorePosted 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...
Read MorePosted by Jonathan Kalb | 3rd Mar 2026 | Acting, New York, Review, United States of America
Ngozi Anyanwu’s The Monsters is a poignant and muscular two-hander about a Black brother and...
Read MorePosted by Morgan Skolnik | 13th Feb 2026 | LGBTQ+ Theatre, New York, Review
Anticipation and intrigue flood the room– a room which both is and is not the club. I and around...
Read MorePosted by Victoria Zavyalova | 9th Feb 2026 | Australia, Festivals, Review, United States of America
In January, the NYC Under the Radar Festival presented some of the most innovative and...
Read MorePosted by Lisa Monde | 8th Feb 2026 | Essay, Musical Theatre, United States of America
For American audiences, the musical The Devil Wears Prada, anticipated to premiere on Broadway in...
Read MorePosted by Jonathan Kalb | 4th Feb 2026 | Playwriting, Review, United States of America
At the risk of sounding smug, let me say: I have been yowling, since the early days of the...
Read MorePosted by David O'Donnell | 29th Jan 2026 | Festivals, Hawaii, New Zealand, Theatre and Decolonization, Transcultural Collaborations
In the opening scene of Puana, a musical play written and directed by Professor Tammy Haili‘ōpua...
Read MorePosted by Morgan Skolnik | 27th Jan 2026 | Review, United States of America
The morning of the day I saw Narcissister’s spellbinding and stunningly original Voyage Into...
Read MorePosted by Morgan Skolnik | 23rd Jan 2026 | New York, Review, Theatre and Gender, United States of America
Wet Mess is a captivating performer with a playfully defined aesthetic. Their checkerboard face...
Read More
From Richard To Richard: MITEM 2026 And a Europe in… by Emiliia Dementsova 14th April 2026
David Yazbek: The Master of Adapting Films into… by Lisa Monde 2nd April 2026 
Waking Up in the Spotlight with “The Unusual… by Alexander Fatouros 24th March 2026
Michael Frayn’s “Copenhagen” at the Hampstead… by Aleks Sierz 14th April 2026
Maxim Sukhanov – About The “Brew”… by Sergey Elkin 1st May 2026 
Chekhov’s “Uncle Vanja”, directed… by Duška Radosavljević 14th April 2026 
