Worldwide
Post-Colonial B-Horror: “The Visitors” at Volksbühne Berlin
by Yizhou Zhang | 5th Sep 2024 | Germany, South Africa, Theatre and Dance, Theatre and Decolonization
This summer, Berlin’s Volksbühne presented The Visitors, a new work by the choreographer Constanza...
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“My Father’s Fable,” Bush Theatre
by Aleks Sierz | 25th Jun 2024 | Nigeria, Review, United Kingdom
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We Passed Through The Wall Of Sorrow Together
by Mehdi Shahedi | 26th Aug 2025 | Essay, Iran, Theatre and Politics
We are an avant-garde theatre group, and after our successful performance of The History Boys by...
Violence and Therapy: 29th International Shakespeare Festival in Gdańsk, Poland, 2025
by Marta Bryś | 11th Sep 2025 | Festivals, Poland, Review
The International Shakespeare Festival in Gdańsk is not the festival of masterpieces and it never...
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Lessing’s “Emilia Galotti” As Directorial Debut In Bremen
by Daniel Meyer-Dinkgräfe | 9th Sep 2025 | Directing, Germany, Review
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Shakespeare In The Park At The New Delacorte Theater: Love Is Gender Fluid
by Cristina Modreanu | 30th Aug 2025 | New York, Review, Theatre and Politics, United States of America
In a world where the rule is to make huge efforts to attain an “effortless, relaxed” look, the new...
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“Buen Camino,” Edinburgh Festival Fringe 2025
by Margaret Rose | 13th Aug 2025 | Edinburgh 2025, Review, Scotland, United States of America
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“The Butterfly Who Flew Into The Rave”, Edinburgh Festival Fringe 2025
by Duška Radosavljević | 24th Aug 2025 | Edinburgh 2025, Festivals, New Zealand, United Kingdom
Oli Mathiesen’s dance piece The Butterfly Who Flew Into The Rave has been described by this...
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Bell Shakespeare’s New “King Lear” Understands The Joy Of A Good Tragedy
by Kirk Dodd | 20th Jul 2024 | Australia, Dramaturgy, Review, Sydney
Oscar Barney Finn and Paulo Brunetti Interview
by Jack Wernick | 20th Aug 2024 | Adaptation, Argentina, Interview
I had the opportunity to interview frequent collaborators, writer-director Oscar Barney Finn and...
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