“Happy Days” at the Mark Taper Forum – Sorrow Keeps Breaking In 25th May 2019 | Los Angeles, Review, United States of America
Herta Müller’s “Niederungen” and The Dramaturgy of The Body 25th May 2019 | Dramaturgy, Review, Romania
“The Modern on Stage / The Dream of the House”: An Interview with Jan Pappelbaum, Set Designer at the Schaubühne, Berlin 24th May 2019 | Design, Germany, Interview
Interview with Saviana Stănescu: “One could say that I am a 17-year-old American playwright” 24th May 2019 | Interview, Playwriting, Romania, United States of America
Chekhov’s “Three Sisters” at the Almeida Theatre 24th May 2019 | Adaptation, London, Review, Russian Theatre Abroad, United Kingdom
Russia Meets Iran: J’afari, Vișniec and Meyerhold, Partners of Ideology, Traversers of History 23rd May 2019 | Directing, Iran, Review, Theatre and Politics
Self-Censorship Is a Castration of Ideas: A Conversation with Ruhollah J’afari, Dramaturg and Director of the Play Richard III Will Not Take Place 23rd May 2019 | Interview, Iran, Theatre and Politics
Interview With Sasha Marianna Salzmann: The Playwright 22nd May 2019 | Germany, Interview, Playwriting
Riddled With Vivid Snapshots of The Human Condition: “Waiting for Godot” in New Zealand 22nd May 2019 | Ireland, New Zealand, Review
“Between Breath” Is A Tender Play About Grief, Tragedy And The Impact Of A Life Well-Lived 21st May 2019 | Canada, Review
The Immigrant Dragons, Part IV: Generations United in Bendigo 21st May 2019 | Australia, China, Chinese Theatre Abroad, Essay, Transcultural Collaborations
Jayachandran Palazhy on Contemporary Art Forms 21st May 2019 | India, Interview, Transcultural Collaborations
“Lo (Or Der Mr. Wells)”: Rose Napoli And David Mamet Clash In This Fine Production Dealing With Troubling Ethical Questions.. 21st May 2019 | Canada, Review
“King Lear” at Quantum Theatre, Pittsburgh PA 20th May 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
“Hero Alom”: Shattering Frameworks of Beauty in Modern Indian Theatre 20th May 2019 | Acting, India, Review, Translation
“Indecent”: A Deeply Moving, Complex And Exquisitely Directed Production That Reveals The Enormous Talent Of The Segal Centre For Performing Arts In Montreal 20th May 2019 | Canada, Review
“Indecent”: A Play That Deals With Love And Hate In The Past And In Our Time 20th May 2019 | Boston, Review, United States of America
La Cubana Has A Hit On Its Hands: “Farewell Arturo” On Tour Across Spain 19th May 2019 | Review, Spain
The Naked Archivist: Tradition In The Work Of Performance Artist Pichet Klunchun 19th May 2019 | Belgium, Essay, Theatre and Dance
Staging The Present Moment: International Festival of Iberian Expression Theatre 19th May 2019 | Brazil, Festivals, News, Portugal, Theatre and Dance, Theatre and Politics
Transcending Michael Chekhov From the Classroom to the Stage 17th May 2019 | Acting, Essay, New York, United States of America
It’s Shakespeare’s “Hamlet,” But Not As You Know It 16th May 2019 | Adaptation, Japan, News, Transcultural Collaborations
Retro Productions’ “Mary, Mary” 16th May 2019 | New York, Review, Theatre and Gender, United States of America
Wounds Of Tradition In Huntington’s “Indecent” 15th May 2019 | Boston, Musical Theatre, Review, United States of America
Stage Space of Contemporary Belarusian Scenography 15th May 2019 | Belarus, Design, Essay, Theatre and Art
Why Hong Kong Is Surprisingly Fertile Ground For Western Opera 14th May 2019 | Hong Kong, News, Theatre and Opera
AVLAIA: Dropping and Opening the Curtain to the Future of Europe 14th May 2019 | Greece, News, Theatre and Art, Theatre and Politics
Hidden Women Of History: Eliza Winstanley, Colonial Stage Star And Our First Female Richard III 14th May 2019 | Australia, Essay, Theatre and Gender
Mass Opera’s Production Of “Die Fledermaus” Is The Life Of The Party 13th May 2019 | Boston, Review, Theatre and Opera, United States of America
Stories From The Soul: “Topi Ki Dastaan”, A Play Based On The Popular Hindi nNovel Topi Shukla 13th May 2019 | Adaptation, Directing, India, News
“Jude” at The Hampstead Theatre: Adaptation of Thomas Hardy’s 1895 Tragic Novel, “Jude The Obscure” 13th May 2019 | Adaptation, London, Review, United Kingdom
“There Is More Future Than Past” And “A Room of One’s Own”: Documentary Play About Latin American Women Artists 12th May 2019 | Brazil, Documentary Theatre, Portugal, Review, Theatre and Gender
The Ritual Of Illusion. “Gogol. Fatum” At Gomel State Drama Theatre 12th May 2019 | Belarus, Design, Directing, Review
Prague Quadrennial 2019: Imagination, Transformation, Memory 12th May 2019 | Czech Republic, Festivals, News, Transcultural Collaborations, Transmedia
Lesbian Pirates! A Historical Look At Disability And Queerness 11th May 2019 | LGBTQ Theatre, News, Theatre and Disability, United Kingdom
En-route To Constructing Translation For The Stage: The UCL Theatre Translation Futures Forum 11th May 2019 | London, News, Taiwan, Translation, United Kingdom
What Schreck’s Endings Mean To Me 10th May 2019 | New York, Review, Theatre and Politics, United States of America
“Top Girls” at The National Theatre 10th May 2019 | London, Review, Theatre and Gender, United Kingdom
“All My Sons” at The Old Vic: Tragedy at The Heart of the American Dream 9th May 2019 | London, Review, United Kingdom, United States of America
Helen Edmundson’s “Small Island” At The National Theatre: Tribute To The Windrush Generation 9th May 2019 | London, Review, United Kingdom
A Triumph Of Performative Experimentation: BATS Theatre, Wellington Celebrates 30 Years 9th May 2019 | New Zealand, News
Henrik Ibsen’s “Rosmersholm” At The Duke Of York’s Theatre: Vibrant Classic 8th May 2019 | London, Review, Translation, United Kingdom
“The Half God Of Rainfall” at The Kiln Theatre: A Galaxy-Hopping Mythological Mash-up 8th May 2019 | London, Review, Theatre and Gender, United Kingdom
Children Bring The Mahabharata On Stage 7th May 2019 | Acting, India, News, Theatre and Religion, Theatre for Young Audiences
First Egyptian Integrated Dance Show Spotlights Dancing With Disability 7th May 2019 | Egypt, Festivals, News, Theatre and Disability
Zoe Cooper’s “Out Of Water” At The Orange Tree Theatre: Feelgood Gender Issues 7th May 2019 | London, Review, Theatre and Gender, United Kingdom
Passion Play: The Often Fraught History Of The Theatre And Christianity 7th May 2019 | Essay, Theatre and Religion, United Kingdom
“The Pigeon King” At The NAC Is A Perfect Country Musical About Pigeon Scams, The Modern Family Farm, Hope, And Loss And That Reality Is Stranger Than Fiction 7th May 2019 | Canada, Musical Theatre, Review
Performatik 2019 – Towards Indisciplinarity 6th May 2019 | Belgium, Essay, Festivals, Theatre and Art, Transmedia
“It Is All Very Satisfying”: Director Of India By The Nile, Ila Gupta On Her 25 Years In The Arts Field 6th May 2019 | Egypt, Festivals, India, News
The Structure Of The Arts And Culture Industry In Zimbabwe 5th May 2019 | Essay, Theatre and Politics, Zimbabwe
Intermediality In The Advanced Dramatic Readings In Belarusian Theatre 5th May 2019 | Belarus, Essay, Transmedia
Designing for Site-Specific Theatre: An Interview with Designer Susan Tsu on her Costumes for “King Lear” at Quantum Theatre 4th May 2019 | Design, Interview, Pittsburgh
Absurdist Comedy “Every Good Boy Deserves Favour” Gets Its Japan Debut 4th May 2019 | Adaptation, Japan, News, Transcultural Collaborations
Duchampian Theater: “Paul Swan is Dead and Gone” 3rd May 2019 | Immersive Theatre, LGBTQ Theatre, Musical Theatre, New York, Review, United States of America
Bowled Over: Suzan-Lori Parks’ “White Noise” 3rd May 2019 | New York, Review, United States of America
Youth Find Hope For The Future Through Documentary Play 3rd May 2019 | Canada, Documentary Theatre, News, Theatre and Age
Fresh Perspectives: A Selection of Madrid’s Brightest Young Theatrical Voices 1st May 2019 | News, Playwriting, Spain
Why Is Rudolf Nureyev So Popular Worldwide Even 26 Years After His Death? 1st May 2019 | Essay, LGBTQ Theatre, Russia, Theatre and Dance
Tribute to Author Celebrates the Life of The Imagination: “I Am Not Margaret Mahy” 30th April 2019 | New Zealand, Review
The Non-Hierarchical Theatre Of Rebecca Wright 30th April 2019 | Interview, Philadelphia, United States of America
New Play Examines Shakespeare’s Gender Politics: Sarah Delahunty’s “This Long Winter” 29th April 2019 | New Zealand, Review, Theatre and Gender
Veteran Kenyan Actress Returns to Stage With Feminist Show 28th April 2019 | Kenya, News, Theatre and Gender
“Smile” Clown Festival In Naples Directed By Jango Edwards: Between Street Theatre And Clowntherapy 28th April 2019 | Italy, Theatre and Science, Theatre for Young Audiences
Cultural Snacks In A Chinese Karaoke Bar: “Lucky Ping-Pong Dragon Karaoke” 27th April 2019 | Festivals, London, Review, United Kingdom
Theatre Of The Real And Embracing The Politics Of The Current Moment: Lee Hall And Ivo van Hove’s “Network” 27th April 2019 | Belgium, New York, Review, United States of America
Sergi López Heads an Impressive Cast in Andrés Lima’s Staging of Juan Mayorga’s “The Boy at the Back” 27th April 2019 | Review, Spain
The Third Edition Of Loja’s International Festival Of Living Arts, Ecuador (FIAVL 2018) 26th April 2019 | Ecuador, Festivals, News
“Art Tells Truth That Truth Itself Can’t”: A Glimpse Into The Multimedia Mind Of Andrew Schneider 26th April 2019 | Interview, Transmedia, United States of America
“Diana of Dobson’s” at Antaeus Theatre Company 25th April 2019 | Los Angeles, Review, United States of America
“Black: The Sorrows Of Belgium”–Luk Perceval/NTGent and “Flandria”–Roland Gunst/LOD 25th April 2019 | Belgium, Review
“Giselle”–A World Premiere Reveals Ivan Cavallari’s Contemporary Vision Of A 19th Century Ballet Through The Prism Of ‘Total Art.’ 24th April 2019 | Canada, Review, Theatre and Dance
Why I Got Up On Stage At The Edinburgh Fringe To Explain My Research In Cabaret 24th April 2019 | Festivals, Review, United Kingdom
“Top Girls” at The National Theatre 23rd April 2019 | London, Review, Theatre and Gender, United Kingdom
“Dust” At D-CAF: An Operatic Dystopia With An Environmental Message 23rd April 2019 | Egypt, Festivals, News
“The Burdens” At City Theatre In Pittsburgh, PA, USA 23rd April 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
In Photos: Egypt’s Renowned Actor Yehia El-Fakharany To Return As King Lear 23rd April 2019 | Acting, Egypt, News
“Les Miz And Friends: A Puppet Parody” At The Hudson Theatre Is An Absolutely Hysterical Delight. 21st April 2019 | Los Angeles, Puppetry, Review, United States of America
Looking Again at Lorca: Pep Tosar’s “Federico García” Returns to Barcelona 21st April 2019 | Review, Spain
Fiona Shaw Performs “The Waste Land” In Madison Square Park 20th April 2019 | New York, Review, United States of America
On Broadway, “Burn This” Singes the Frayed Nerves of 20th Century Romance 19th April 2019 | New York, Review, United States of America
World Premiere of Georgina Escobar’s “Then They Forgot About The Rest” Delivers Frontier Futura Funk 19th April 2019 | New York, United States of America
“Swedish Furniture” Is A Serious, Realistic Look At Millennial Relationships 18th April 2019 | Canada, Review
José María Pou Celebrates A New Appointment And 15 Months On The Road With “Moby Dick” 18th April 2019 | Review, Spain
Necromancers of the Public Domain: Art Both Free and Liberating 17th April 2019 | Design, Devised Theatre, Musical Theatre, New York, Review
ETC and Ukrainian Theatre: A Dialogue of Art, Change, and Support 16th April 2019 | Germany, News, Producing, Theatre and Politics, Transcultural Collaborations, Ukraine
“Crippled,” The USCIS, And The Importance Of Disability As Culture 16th April 2019 | Canada, Review, Theatre and Disability
Samara Hersch: Theatre For The People, By The People 15th April 2019 | Australia, Directing, Interview
Bhuhu: A New Immersive Arts Course At Wandering Artist 15th April 2019 | India, News, Theatre and Art
Working Off-Script: Transgender Awareness in Iranian Black Box Theatres: An Interview with Sāmān Arasṭoo 14th April 2019 | Interview, Iran, LGBTQ Theatre, Theatre and Gender
We Shall Never See So Much (On Broadway): Glenda Jackson Is King Lear 14th April 2019 | New York, Review, United States of America
The Aphra Behn Emerging Artists’ Festival 14th April 2019 | Festivals, News, United States of America
Sonic Realm Theatricals In Belarusian Theatre 13th April 2019 | Belarus, Design, Essay, Theatre and Disability
On Broadway, “Ain’t Too Proud” Runs Away with The Temptations 13th April 2019 | Musical Theatre, New York, Review, United States of America
Kitchen Dog Theater Brings “Wolf at the Door” to Dallas 13th April 2019 | Dallas, Review, United States of America
Ross Willis’s”Wolfie” at The Theatre 503: Nurture vs. Nature Debate 11th April 2019 | London, Review, United Kingdom
“The Things We Do” at Odyssey Theatre 11th April 2019 | Los Angeles, Review, Theatre and Age, United States of America
Reinforcing Patriarchal Systems Of Power In BOC’s “‘Modern’ Don Giovanni” 11th April 2019 | Boston, Review, Theatre and Opera, United States of America
“An Inspector Calls”: A Study Of Greed 10th April 2019 | Boston, Review, Theatre and Politics, United Kingdom, United States of America
William Wharton’s “Birdy:” A Test Of Loyalty 8th April 2019 | Acting, Boston, News, United States of America
“Love And Information”: An Excellent Young Director Extracts Order From Churchill’s Contemporary Chaos 8th April 2019 | Canada, Review
Misogyny On Trial: Miguel del Arco’s Verbatim Production Offers A New Trial For “La Manada” 7th April 2019 | Review, Spain, Theatre and Gender
Kieran Hurley’s “Mouthpiece” At The Soho Theatre: Feast Of Meta-Theatre 7th April 2019 | London, Review, United Kingdom
José Torres-Tama’s “Aliens, Immigrants & Other Evildoers” Tackles Immigration and the Latinx Community 7th April 2019 | Review, United States of America
The Importance Of Theatre For The Youth With Jonathan Dorf 6th April 2019 | Interview, Los Angeles, United States of America
“Grief Is The Thing With Feathers” at The Barbican Theatre 6th April 2019 | London, Review, United Kingdom
“We Understand Our Culture Better Through The Other’s”: Interview With Dramaturg And Theatre Historian Nina Király (1940–2018) 5th April 2019 | Dramaturgy, Hungary, Interview
Block Party and “Rotterdam” at the Kirk Douglas 5th April 2019 | LGBTQ Theatre, Los Angeles, Review, Theatre and Gender, United States of America
and everybody goes “Awww!”: The Mad Ones’ “Mrs. Murray’s Menagerie” 5th April 2019 | New York, Review, Theatre for Young Audiences, United States of America
A Street Play That Conveyed Hard-Hitting Messages On Body Shaming 4th April 2019 | Devised Theatre, Festivals, India, News, Theatre and Gender
“Los Papeles” By Anthony Kmeid: A Journey From Beirut To Barcelona Between Theatre, Video, And Story-Telling 4th April 2019 | Review, Spain, Theatre and Film
Lyric Hyperion Brings The Spirit Of Gaulier To Silver Lake 4th April 2019 | Interview, Los Angeles, United States of America
Necessary Questions: On Representation And Role Of Women In Egypt’s Theatre 4th April 2019 | Egypt, News, Theatre and Gender
Popular Culture And Political Theatre In PETA’s “Charot!, The Musical” 3rd April 2019 | LGBTQ Theatre, Musical Theatre, Philippines, Review, Theatre and Politics
Devotion In Motion: India’s Odissi Dance Discusses Faith On Egypt Stages Through Gesture 2nd April 2019 | Festivals, India, News, Theatre and Dance
“Brave Space” By Chicago-Based Aloft Circus Arts (At Iron City Circus Arts On Pittsburgh’s South Side) 2nd April 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
On Broadway, “What The Constitution Means To Me” Exorcises A Troubled American Ethos 1st April 2019 | New York, Review, Theatre and Politics, United States of America
“Love And Human Remains”: An Excellent Staging Gives Life To A Dated Play 1st April 2019 | Canada, Review
Hong Kong Ballet Brings Back “Le Corsaire”–An Encounter With Its Rising Young Star, Garry Corpuz 1st April 2019 | China, Hong Kong, News, Theatre and Dance
“A Man of Good Hope” Is No Tale Of Triumph Over Adversity, But It Is The Story Of Many 1st April 2019 | Festivals, Review, South Africa
“A Doll’s House Part 2” At Pittsburgh Public Theater 1st April 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
“The Roommate” At City Theatre In Pittsburgh, PA 1st April 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
“Mumburger” At Off The WALL Productions (Carnegie, PA) And “The Double Threat Trio” At Pittsburgh CLO 31st March 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
Staging Difficult Pasts: “My Girl, My Little Girl” at Madrid’s Español Theatre 31st March 2019 | Review, Spain
David Herskovits’ “Marjana And The Forty Thieves” 31st March 2019 | Adaptation, New York, Review, United States of America
World Theatre Day 2019: On (Dis)Connection 31st March 2019 | News, South Africa, Theatre and Politics
Any One Thing’s “Recollection”: Breaking The Threshold Of Immersive Theatre 31st March 2019 | Immersive Theatre, London, Review, United Kingdom
Brian Friel’s “Faith Healer” At The Odyssey Theatre 30th March 2019 | Los Angeles, Review, United States of America
“El Coronel No Tiene Quien Le Escriba” At Harlem Stage 30th March 2019 | Adaptation, New York, Review, United States of America
ASSITEJ SA Announces 2019 Playwriting Contest Winner 30th March 2019 | News, Playwriting, South Africa
Sasha Velour’s “Smoke & Mirrors”: Long Live The Queen 29th March 2019 | LGBTQ Theatre, New York, Review, Theatre and Gender, United States of America
At the Barrow Group, “Perp” Is An Intimate, Challenging Look at Disability That Must Be Seen 29th March 2019 | New York, Review, Theatre and Disability, United States of America
“Love And Human Remains”: Excellent Production Explores Loneliness In The Modern World 29th March 2019 | Canada, Review
“La Reprise”: Startling Theatre And A Call To The Dead To Speak 29th March 2019 | Australia, Festivals, LGBTQ Theatre, Review, Switzerland
Hamilton Education Program on Broadway 28th March 2019 | News, Theatre and Politics, Theatre for Young Audiences, United States of America
Theatre Unleashed: Lauren Gunderson’s “Ada and the Engine” – A Must-See in Koreatown 28th March 2019 | Los Angeles, Theatre and Gender, Theatre and Science, United States of America
East Meets West In An English Retelling Of “The Legend Of The White Snake” 27th March 2019 | Adaptation, Hong Kong, News, Theatre and Opera
The Immigrant Dragons – Part III: Creating A Dragon That Will Last 100 Years 27th March 2019 | China, Design, Hong Kong, News, Transcultural Collaborations
“Behaviour” Is Essential And Traumatic-Socially Conscious Theatre At Its Peak! 26th March 2019 | Canada, Review
A Conversation with Composer Ilya Demutsky: “I’m Excited” 26th March 2019 | Interview, Russia, Russian Theatre - Featured, Theatre and Dance
A Feminist Documentary Play From Toronto: “Grace” 25th March 2019 | Canada, Review, Theatre and Gender
“Secondhand” at the Örkény István Theater: Soviet Nostalgia 25th March 2019 | Hungary, Review, Theatre and Politics
Choy Ka Fai: Dr. Dance Trips The Light Fantastic 24th March 2019 | News, Singapore, Theatre and Science, Transmedia
“The Bourgeois Gentlemen” at the City Garage Theatre, Santa Monica CA 24th March 2019 | Los Angeles, Review, United States of America
Using Art To Tackle Air Pollution: A Story From A Nairobi Slum 23rd March 2019 | Kenya, News, Theatre and Science
Transforming The Traditional World Of Kabuki With Kinoshita-Kabuki 23rd March 2019 | Essay, Japan, News
Without Language: Marius Ivaškevičius’s “Exile” at Moscow’s Vl. Mayakovsky Theatre 22nd March 2019 | Review, Russia, Russian Theatre - Featured
In The Labyrinth Of Surfaces: Performativity, And Visitor Experience In The teamLab Exhibitions 22nd March 2019 | Essay, Japan, Transmedia
Goof Troupe: Little Lord’s “Skinnamarink” 21st March 2019 | Devised Theatre, New York, Review, Theatre for Young Audiences, United States of America
Mechanical Reproduction: J.B. Priestley’s “An Inspector Calls” directed by Stephen Daldry at ArtsEmerson 21st March 2019 | London, Review, United Kingdom
The Immigrant Dragons–Part II: On The Hunt For The Right Master 20th March 2019 | China, Design, Hong Kong, News, Transcultural Collaborations
Interview With Director Johanny Bert 20th March 2019 | France, Interview, Theatre for Young Audiences
On Broadway, “Kiss Me, Kate” Is True To Fashion, For Better Or Worse 19th March 2019 | Musical Theatre, New York, Review, United States of America
“For The Love Of , Or, The Roller Derby Play”: Block Party 2019 Off To A Strong Start At The Kirk Douglas 19th March 2019 | Los Angeles, Review, United States of America
Interview With Debbie Devine: The Missionary Of Arts Education 19th March 2019 | Interview, Theatre for Young Audiences, United States of America
Revolution Is A Necessary Cause, But Impossible Today: Interview with Director Kokan Mladenović 19th March 2019 | Interview, Macedonia, Theatre and Politics
Stéphanie Turple’s “Un-Countried”: How Regimes And Mindsets Change 18th March 2019 | Acting, Canada, Review, Theatre and Politics
A Hong Kong Take On An American Classic: In Conversation With Tim Yip And Septime Webre 18th March 2019 | China, Design, Hong Kong, Theatre and Dance
“Skinnamarink” at Next Door at NYTW 18th March 2019 | Devised Theatre, New York, Review, Theatre and Politics, United States of America
Christina Ham Talks The Blues And Black Women With Dominic-Madori Davis 17th March 2019 | Interview, Playwriting, United States of America
Ravi Jain’s “Prince Hamlet” Breathes New Life Into The Bard 17th March 2019 | Acting, Canada, Review, Theatre and Gender
The Presence Of Others In A World Without Boundaries: An Interview With teamLab 17th March 2019 | Interview, Japan, Transmedia
Yngvild Aspeli’s “Ashes”: Puppets That Haunt And Kindle 17th March 2019 | France, Norway, Puppetry, Review, Transcultural Collaborations, United States of America
Ödön von Horváth’s “Tales From Vienna Woods,” Directed by Yana Ross 17th March 2019 | Lithuania, Review, Theatre and Politics
We Complement One Another: Gabriela Carrizo, a Founding Member of Peeping Tom 17th March 2019 | Belgium, Hungary, Interview
Theatre Of The Real And Embracing The Politics Of The Current Moment: Heidi Schreck’s “What The Constitution Means To Me” 16th March 2019 | Essay, New York, United States of America
Harold Pinter’s “Betrayal” At The Harold Pinter Theatre: Brilliant Minimalism 16th March 2019 | London, Review, United Kingdom
Juan Mayorga’s “Intensely Blue”: Spain’s Premier Dramatist Seeing The World Anew 16th March 2019 | Review, Spain
Great Ape: “Chimpanzee” at HERE Arts Center 15th March 2019 | New York, Puppetry, Review, Theatre and Science, United States of America
David Henry Hwang On Theatre, Trump, And Asian-American Identity 15th March 2019 | Interview, Playwriting, United States of America
Tatty Hennessy’s “A Hundred Words For Snow” At The Trafalgar Studios 14th March 2019 | London, Review, United Kingdom
“Be More Chill” Brings Broadway Viral, Rewiring The High School Musical 14th March 2019 | Musical Theatre, New York, Review, Theatre for Young Audiences, United States of America
The 10 Craziest Russian Art Performances 14th March 2019 | Essay, Russia, Russian Theatre - Featured, Theatre and Politics
Bigger And Better: Ninth Hakawy Children’s Arts Festival Offers More Performances Spread Over Three Cities 12th March 2019 | Egypt, Festivals, News, Theatre for Young Audiences
Martin Askew’s “There Is A Field” at The Theatre 503: Modern Conversion Play 12th March 2019 | London, Review, Theatre and Religion, United Kingdom
“Saviour Samuel” At Pittsburgh Playwrights Company In Pittsburgh, PA 12th March 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
“Eden” at The Hampstead Theatre: Building a Luxury Golf Course 10th March 2019 | London, Review, Theatre and Politics, United Kingdom
“An Octoroon” At Kinetic Theatre Company In Pittsburgh, PA 10th March 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
“The Cursed Child” Is The Latest In A Line Of Big Shows That Date Back To The Romans 10th March 2019 | Australia, Essay, Melbourne
At SoHo Playhouse, “Fiercely Independent” Demystifies Divorce 10th March 2019 | New York, Review, Theatre and Gender, United States of America
“The Animals And Children Took To The Streets” at The Lyric Hammersmith 10th March 2019 | London, Review, United Kingdom
Where There Is Cowardice, Winking Returns: A Conversation with Hungarian Director Róbert Alföldi 9th March 2019 | Directing, Hungary, Interview
French Playwright Florian Zeller’s “The Son” at The Kiln Theatre 9th March 2019 | France, London, Review, United Kingdom
Who’s His Daddy?: Jeremy Harris’ “Daddy” at Signature Theatre Center 9th March 2019 | LGBTQ Theatre, New York, Review, United States of America
“Mary, Queen Of Scots” Is Newly Relevant In The Age Of #MeToo 9th March 2019 | Australia, Essay, Sydney, Theatre and Gender
Invigorated By A New Cast, “My Fair Lady” Continues to Enchant Broadway 8th March 2019 | Musical Theatre, New York, Review, Theatre and Gender, United States of America
Creating Opportunities For “Inclusive Dance” With Stopgap Dance Company 8th March 2019 | Japan, Review, Theatre and Disability, United Kingdom
Peter Shaffer’s “Equus” at Theatre Royal Stratford East 8th March 2019 | London, Review, United Kingdom
Warring Siblings: Bárbara Lennie And Irene Escolar In Pascal Rambert’s Sell Out Madrid Run Of “Sisters” 7th March 2019 | Review, Spain
Get Out Of The Box: New Business Models And International Co-Operation 7th March 2019 | Europe, News, Transcultural Collaborations
“Superhoe” at The Royal Court: Nicôle Lecky’s One-Woman Debut 7th March 2019 | London, Review, Theatre and Gender, United Kingdom
Using Theatre To Promote Positive Mental Health 7th March 2019 | Ireland, News, Theatre and Disability
In “Kwongkan,” Indian And Australian Performers Convey An Urgent Climate Change Message 6th March 2019 | Australia, Festivals, Review, Transcultural Collaborations
“Ajijaak On Turtle Island”: New York Stories Old And New 6th March 2019 | New York, Puppetry, Review, Theatre for Young Audiences, Transcultural Collaborations, United States of America
“How To Rule The World” Is A Biting And Urgent Satire Of Australian Politics–That Feels All Too Real 5th March 2019 | Australia, Review, Sydney, Theatre and Politics
Finding Something To Hold Onto: A Conversation About Art+Community 5th March 2019 | Applied Theatre, Interview, United States of America
At Roundabout, Can “Merrily” Still Roll Along, Reimagined? 5th March 2019 | Musical Theatre, New York, Review, United States of America
Robert Lepage’s “887” at the Hong Kong Arts Festival 4th March 2019 | Canada, Festivals, Hong Kong, Review
“The Gun Show (Can We Talk About This?)” At Quantum Theatre In Pittsburgh, PA 4th March 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
“The Legend Of Georgia McBride” At Barebones Productions In Pittsburgh, PA 4th March 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
Barcelona Meeting On Independent And Non-Institutionalised Theatres: A Short Report 4th March 2019 | News, Review, Transcultural Collaborations
When Poetry Is The Protagonist: “Lugones,” The Lord Of All The Words 3rd March 2019 | Argentina, Playwriting, Review
World Premiere Of Completed Lorca Play: “The Dream Of Life” Opens In Madrid 3rd March 2019 | Review, Spain
Ravi Jain’s “Prince Hamlet”: A Meta-theatrical Reversal Of Disability And Gender 2nd March 2019 | Canada, Review, Theatre and Disability
“Cougar” at The Orange Tree Theatre 2nd March 2019 | London, Review, Theatre and Gender, United Kingdom
Tears of a Clown: “American Juggalo” 1st March 2019 | Adaptation, Documentary Theatre, New York, Review, Theatre and Politics, United States of America
Brecht In Exile: “Galileo” In Brooklyn 1st March 2019 | Adaptation, Germany, Review, Theatre and Politics, United States of America
“America Adjacent” At The Skylight Theatre Is Worth Consideration… 28th February 2019 | Los Angeles, Review, Theatre and Gender, United States of America
Russian Theatre: The Century of Violence 28th February 2019 | Essay, Russia, Russian Theatre - Featured, Theatre and Politics
Machinations Of Circus And Light: “When Angels Fall” Created By Rapaëlle Boitel At ArtsEmerson 27th February 2019 | Boston, Devised Theatre, France, Review, United States of America
“The Justice Syndicate”: How Do You Make Decisions? Immersive Theatre and Jury Duty 27th February 2019 | Immersive Theatre, London, Review, United Kingdom
“Authentic Or Fake?” Calithumpian Theatre Collective Stages Stephen Sachs’s “Bakersfield Mist” 26th February 2019 | Canada, Review, Theatre and Art
Lauren Gunderson’s “The Revolutionists”: Liberté, Égalité, And Sororité 26th February 2019 | Canada, Review
“KING” – An Interview With Shaun Parker 26th February 2019 | Australia, Interview, LGBTQ Theatre, Transcultural Collaborations
Guilty Pleasures, Escapism, And The Greatest Hits Of ABBA Abound In TUTS’s “Mamma Mia!” 26th February 2019 | Musical Theatre, Review, United States of America
On The Power Of Poetic Voice: A Conversation With The Multidisciplinary Artist Rafael Casal 26th February 2019 | Boston, Interview, United States of America
Story Of Kader Can; A Rapper Boy’s Journey From Poor Outskirts Of Istanbul To Military Barracks! 25th February 2019 | Review, Turkey
Gripping, Contemporary Take On Brecht: “The Good Person Of Szechwan” (Dir. Yury Butusov), At The Moscow Pushkin Drama Theatre At The Barbican, London 25th February 2019 | Directing, Review, Russia, Russian Theatre Abroad, Transcultural Collaborations
Setting The Stage For Climate Change: Place 25th February 2019 | Essay, Theatre and Science, United Kingdom
“Kinkakuji:” Staging A Japanese Classic With A German Twist 24th February 2019 | Adaptation, Japan, News, Theatre and Opera, Transcultural Collaborations
Meshuggah, Nein? “Fiddler” In Yiddish 24th February 2019 | Musical Theatre, New York, Review, United States of America
“New Piece I: Since She”: Tanztheater Wuppertal and The Legacy of Pina Bausch 24th February 2019 | Germany, Review, Theatre and Dance
Russian Actor Aleksei Guskov: An Actor Without A Stereotype 24th February 2019 | Acting, Interview, Russia, Russian Theatre - Featured
“Gangsters Of Hong Kong:” A New Stage Play Fleshes Out Triad Drama 23rd February 2019 | China, Festivals, Hong Kong, News, Playwriting
Subtle and Striking, Irondale’s Timely “The Life of Galileo” is Epic Theater 22nd February 2019 | New York, Review, Theatre and Politics, Theatre and Science, United States of America
David Ireland’s “Cyprus Avenue” At The Royal Court 22nd February 2019 | London, Review, United Kingdom
Basma Hamed, A Remarkable Star Of Egypt’s Arts Management 21st February 2019 | Egypt, Interview, Management
Zimbabwean Theatre Culture “Emerging” From The Shadows 21st February 2019 | Festivals, News, Zimbabwe
Review: Who Needs To Be Reminded “We Are Not Alone”? 20th February 2019 | Canada, Review, Theatre and Politics
The Beauty In Differences In The “Scarlet Ibis,” A New Opera 20th February 2019 | Boston, Review, Theatre and Opera, United States of America
Intersectional Fabulousity Of Work In Progress: Conversation With Ayesha Jordan And Justin Hicks 19th February 2019 | Boston, Interview, Transmedia, United States of America
Decor Is Not Decor Anymore: Bruno Latour and Frédérique Aït-Touati on Theatre and The New Climate Regime 18th February 2019 | France, Interview, Theatre and Science
“The End Of TV”: Manual Cinema Presents Another Unusual And Stunning Work 18th February 2019 | Boston, Review, Theatre and Film, United States of America
“Super Vocal,” Chinese TV Talent Contest For Opera Singers And Musical Performers, Scores Top Ratings 17th February 2019 | China, Musical Theatre, News, Theatre and Opera
The Spirit Of Judson In A New Millennium: The Legendary Collective Still Oscillates Between Canonization And Transience 16th February 2019 | Essay, New York, Theatre and Dance, Transmedia, United States of America
“City Of No Illusions” Takes Refugees To The Border Of Life And Death 16th February 2019 | New York, Review, Theatre and Politics, United States of America
Cultural Education: “We Do Not Dispense School Knowledge” 15th February 2019 | Germany, Interview, Theatre for Young Audiences
Arthur Miller’s “The Price” At The Wyndham’s Theatre 15th February 2019 | London, Review, United Kingdom
Navigating Korea and America: Meet Hansol Jung, Playwright of “Wild Goose Dreams” and “Cardboard Piano” 14th February 2019 | Interview, Playwriting, South Korea
Pie in the Sky: Eliza Bent Delights With “Bonnie’s Last Flight” 13th February 2019 | New York, Review, United States of America
Matthew Bourne’s “Cinderella”–A Breathtaking Fairytale At War 13th February 2019 | Los Angeles, Review, Theatre and Dance, United States of America
Transforming Society Through Documentary Theatre: Peter Eckersall In Conversation With Lebanese Director Sahar Assaf 13th February 2019 | Directing, Documentary Theatre, Interview, Lebanon
At “The Mountaintop” There Is Doubt, Uncertainty And Humanity: Katori Hall’s Play About King’s Final Night Before His Assassination 12th February 2019 | Canada, Review
Vikram Phukan: Mapping Resilience And Vulnerability 12th February 2019 | India, LGBTQ Theatre, Review, Theatre and Politics
The “King” Returns And Theaters Look To Russia For 2019 – Theatre in Japan 12th February 2019 | Japan, Musical Theatre, News, Transcultural Collaborations
“Beware Of Pity” Is Beautiful To Watch, But Clashes With Modern Sensibilities 11th February 2019 | Australia, Festivals, Review, Sydney, Theatre and Disability
The First Middle Eastern Theatre Photo Exhibition At The University Of Toronto, Spring 2019 11th February 2019 | Canada, News
“The Tempest” At The Pittsburgh Public Theater In Pittsburgh, PA, USA 11th February 2019 | Adaptation, Pittsburgh, Review, The Pittsburgh Tatler, United States of America
Post-Apocalyptic Ambiguity Of The Inner Light: A Conversation With The Creators Of “When Angels Fall” 10th February 2019 | Boston, France, Interview, Theatre and Dance, United States of America
Decoding The Music Masterpieces: Alban Berg’s “Wozzeck,” An Apocalyptic Descent Into Madness 9th February 2019 | Australia, Review, Sydney, Theatre and Opera
Two Bold Shows by Women of Color at Mabou Mines 9th February 2019 | Festivals, New York, Review, Theatre and Gender, United States of America
Shakespeare’s “Othello” In The Trappings Of Twenty-First Century America 9th February 2019 | Boston, Review, Theatre and Politics, United States of America
“Frankenstein” In The Age Of Artificial Intelligence 8th February 2019 | Review, Switzerland, Theatre and Science, Transmedia
A New Eliza: Bedlam’s “Pygmalion” At The Central Square Theatre 8th February 2019 | Boston, Review, United States of America
China, Liberia, America: A Suite Of Women’s Stories 7th February 2019 | Festivals, New York, Review, Theatre and Film, Theatre and Gender, United States of America
“The Petty Bourgeois‘” And “The Gambler‘s” Warnings About Anthropocentrism And Capitalism 7th February 2019 | Czech Republic, Essay, Theatre and Politics
Interview with Festival Director Sarah Purdue: Short + Sweet Sydney Launches 18th Season 7th February 2019 | Australia, Festivals, Interview, Sydney, Theatre and Art
“Welcome To The U.K.” at The Bunker Theatre: Satire on Obstacles Facing Refugees 6th February 2019 | London, Review, Theatre and Politics, United Kingdom
“Ms. Smith Goes To Washington”-The Fountain Theatre At Los Angeles City Hall 6th February 2019 | Los Angeles, Review, Theatre and Politics, United States of America
Walking Alongside “Bitten: Return To Our Roots” 5th February 2019 | Documentary Theatre, Immersive Theatre, Review, Singapore
“Lungs” A Piece Of Stripped Down Theatre With A Fully Packed Message 5th February 2019 | Canada, Review, Theatre and Science
Unfinished Business: “A Doll’s House, Part 2” at The Huntington Theatre Company 4th February 2019 | Boston, Review, Theatre and Gender, United States of America
Tarell Alvin McCraney’s “Choir Boy,” Fearless and Faithful, Makes Radiant Broadway Debut 4th February 2019 | LGBTQ Theatre, New York, Review, United States of America
“Small Mouth Sounds” And Not Much Dialogue Either 3rd February 2019 | Boston, Review, United States of America
Creating a Space for Repeating a Domestic Nightmare: A Note on the Performance of “You Were Occupied with Your Dying” 3rd February 2019 | Iran, Review, Theatre and Gender
“Paradise” at Odyssey Theatre – STEM and The Teenage Brain 2nd February 2019 | Los Angeles, Theatre and Religion, Theatre and Science, United States of America
Gilded in Glitter, How Much Jukebox Inferno Can “The Cher Show” Take? 2nd February 2019 | Musical Theatre, New York, Review, United States of America
The Inner Monster Of Steve Jobs Comes Alive On An Iranian Stage With Mehrān Ranjbar’s Tale 1st February 2019 | Iran, Review
To Belong Or Not To Belong? AHSC Stages David Ives’s “The Interrogation Of Baruch De Spinoza” 1st February 2019 | Canada, News, Theatre and Religion
Shakespeare From Iran, And Other Radical Possibilities At The Kerala Theatre Festival 31st January 2019 | Festivals, India, News
“Hercules” At Abrons Arts Center 31st January 2019 | Review, Theatre and Politics, United States of America
The Patriarchy Won’t Smash Itself: Interview with Kryssi Jeaux Miller, Founder of the Northern Colorado Jousting Troupe Knights of the Tempest 31st January 2019 | Interview, Theatre and Gender, United States of America
Martin Crimp’s “When We Have Sufficiently Tortured Each Other” At The National Theatre 30th January 2019 | London, Review, Theatre and Gender, United Kingdom
Dancenorth’s “Dust” Is Ambitious Theatre In An Age Of Uncertainty 30th January 2019 | Australia, Festivals, Review, Sydney
Complexity Abounds In Antaeus Theatre Company’s “The Cripple Of Inishmaan”-Glendale, CA 30th January 2019 | Los Angeles, Review, Theatre and Art, United States of America
“Where Did We Sit on The Bus?” at City Theatre, Pittsburgh PA 29th January 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America
“The Unreturning” at The Theatre Royal Stratford East 29th January 2019 | London, Review, Theatre and Gender, United Kingdom
Krishna And Kansa Come Alive For 11 Days Every Year In This Odisha Village 28th January 2019 | Festivals, India, News
“Ripcord”: Disturbingly Outrageous Popular Theatre Where Comedy And Tragedy Intersect 28th January 2019 | Canada, Review
Ishy Din’s “Approaching Empty” at The Kiln Theatre 27th January 2019 | London, Review, Theatre and Politics, United Kingdom
Joseph Keckler’s “Train With No Midnight 26th January 2019 | New York, Prototype 2019, Review, Theatre and Opera, United States of America
Brian Clowdus: Providing Access Through Outdoor Immersive Storytelling 26th January 2019 | Immersive Theatre, Interview, United States of America
“Crime And Punishment”: The Crime You’ll Be Glad You Were A Witness To 26th January 2019 | Adaptation, Japan, News
Sin Muros: Why I’m Producing a Latinx Theatre Festival 26th January 2019 | Festivals, News, United States of America
Gabriel Gbadamosi’s “Stop And Search” at The Arcola Theatre 25th January 2019 | Ireland, London, Nigeria, Review, United Kingdom
“Deer Woman” Is A Work Of Immense Power And Artistry 25th January 2019 | Australia, Canada, Festivals, Review, Theatre and Gender
Bringing Shadows To Life: Manual Cinema’s “The End Of TV” At ArtsEmerson 24th January 2019 | Puppetry, Review, Theatre and Film, United States of America
Sin Muros: Interview With “The Corrido Of The San Patricios” Playwright Beto O’Byrne 24th January 2019 | Festivals, Interview, United States of America
Interview With Milo Rau “This Trial Would Never Have Been Possible In The Hague” 24th January 2019 | Documentary Theatre, Interview, Switzerland, Theatre and Politics
Staging A Comeback: Theatre in Kerala Recovers from Floods 23rd January 2019 | Festivals, India, News
How “Six” Became The Biggest New Musical Since “Hamilton” 23rd January 2019 | London, Musical Theatre, News, United Kingdom
Interview With Yngvild Aspeli of Plexus Polaire 22nd January 2019 | France, Interview, Norway, Puppetry, United States of America
Danai Gurira’s “The Convert” at The Young Vic: Religion and Colonialism 22nd January 2019 | London, Review, Theatre and Religion, United Kingdom
“Minding Frankie”: A Canadian Premiere Of An Irish Adaptation Goes Straight To The Heart! 22nd January 2019 | Adaptation, Canada, Review
“Time Is Love/Tiempo Es Amore” at The Finborough Theatre 21st January 2019 | London, Review, United Kingdom
“Mr. Eichhorn And The First Snow” – Puppetry for Children 21st January 2019 | Puppetry, Review, Switzerland, Theatre for Young Audiences
Who Is The Greatest Living British Playwright? 20th January 2019 | Essay, Playwriting, United Kingdom
Rise And Shine: “AWAKE!” At The Barrow Group 20th January 2019 | New York, Review, Theatre and Politics, United States of America
The Play That Never Sleeps: “Macbeth” In China 19th January 2019 | Adaptation, China, Immersive Theatre, Review
Molly Lowe And Bertolt Brecht: Making The Familiar Strange 19th January 2019 | Essay, New York, Theatre and Gender, Transmedia, United States of America
Theatre Centre-Stage At US Literary Translation Conference 19th January 2019 | News, Translation, United States of America
Betraying Kane, the Musical: “4.48 Psychosis” Venables’ Operatic Version 18th January 2019 | Prototype 2019, Review, Theatre and Gender, Theatre and Opera, United Kingdom, United States of America
Kevin Elyot’s “Coming Clean” At The Trafalgar Studios 18th January 2019 | LGBTQ Theatre, London, Review, United Kingdom
Touch Me In Duh Righteous: A Fubu “Slave Play” Review 17th January 2019 | New York, Review, United States of America
The Spectator Between Productive Participation And Narcissism In Punchdrunk’s Immersive Theatre 17th January 2019 | Immersive Theatre, Interview, London, United Kingdom
Plight Of Immigrant Women Takes Center Stage In İzmir 16th January 2019 | News, Theatre and Politics, Turkey
Turkish Villagers’ Theater Adventure Opens To World With Short Film 16th January 2019 | News, Theatre and Film, Turkey
Welcome To “The Jungle” at St. Ann’s Warehouse 15th January 2019 | Immersive Theatre, Review, United Kingdom, United States of America
Best Theatre For 2019: This Year’s Hottest Tickets, From Cate Blanchett To “Only Fools And Horses” The Musical 14th January 2019 | London, News, United Kingdom
A Review of “Notes From Exile” from the 2018 Boska Komedia Festival: Reverberations of Antisemitism 13th January 2019 | Divine Comedy Festival 2018, Festivals, Poland, Review
A Review of “We Are Leaving” from the 2018 Boska Komedia Festival: An Epic in the Mundane 13th January 2019 | Divine Comedy Festival 2018, Festivals, Poland, Review
A Review of “Under the Influence” from the 2018 Boska Komedia Festival: Splitting the Mind and Splitting the Stage 12th January 2019 | Divine Comedy Festival 2018, Festivals, Poland, Review, Theatre and Gender
A Review of “Disgrace” from the 2018 Boska Komedia Festival: Fascinating but Problematic Theatre 12th January 2019 | Adaptation, Divine Comedy Festival 2018, Festivals, Poland, Review
A Review of “Conformist 2029” from the 2018 Boska Komedia Festival: “Those Who Would Give Up Essential Liberty, to Purchase a Little Temporary Safety…” 11th January 2019 | Divine Comedy Festival 2018, Festivals, Poland, Review, Theatre and Politics
Report from The 11th Divine Comedy International Theatre Festival, Kraków, Poland: Reflections of a Strange Strange World 11th January 2019 | Divine Comedy Festival 2018, Essay, Festivals, Poland
Sin Muros: Interview with “City Without Altar” Poet and Playwright Jasminne Mendez 10th January 2019 | Festivals, Interview, Playwriting, United States of America
Martha Plimpton On “Sweat”: “In Rehearsals, I Would Nauseate Myself” 10th January 2019 | Acting, Interview, London, United Kingdom
Care To Dance Dramaturg? The Invention Of A New Craft 9th January 2019 | Canada, Dramaturgy, Essay, Theatre and Dance
Making And Knowing: How Theatre Helps To Explore A City’s Identity 9th January 2019 | Essay, South Africa
In The Post-Truth Era, Documentary Theatre Searches For Common Ground 8th January 2019 | Canada, Documentary Theatre, Essay
Sin Muros: Interview with “Then They Forgot About the Rest” Playwright Georgina Escobar 7th January 2019 | Festivals, Interview, Playwriting, United States of America
My Life In Russia: Life Of Ballet Dancer Xander Parish 4th January 2019 | News, Russia, Theatre and Dance
“Anna Karenina Musical” At The Moscow Operetta Theatre 3rd January 2019 | Musical Theatre, News, Russia
Shakespeare In South African Schools: To Die, To Sleep–Or Perchance To Dream? 30th December 2018 | Interview, South Africa
On The Road To New Experiences, Post-SMAP, With Tsuyoshi Kusanagi 29th December 2018 | Acting, Interview, Japan, Theatre and Film
“The Factory”: Play Explores Murky Nexus Of Western Business And Syrian War 28th December 2018 | Germany, Review, Syria, Theatre and Politics
Freemuse Report On Women And Artistic Freedom: Copenhagen, 29. November 2018 28th December 2018 | News, Theatre and Gender, Theatre and Politics
Performance Entre Le Réel Et Le Virtuel: Le Projet “Odiseo.Com” 27th December 2018 | Brazil, Essay, Transmedia
Persian Hippolyte: Hybrid Performance Cultures, Hybrid Identity, And Hybrid Technology 27th December 2018 | Essay, Iran, Transmedia
“Barber Shop Chronicles”: Man Talk In A Man’s World 26th December 2018 | Nigeria, Review, Theatre and Gender, United Kingdom
Review: “Other People’s Children” Cracks Open Postpartum Intimacy And Labor 26th December 2018 | Canada, Review
Violent Clowns And Panto Dames: The Origins Of “Rocky Horror’s” Frank-N-Furter 25th December 2018 | Essay, United Kingdom
“An Enemy Of The People”: The Not-So-Silent Majority Speaks Out Again 25th December 2018 | Directing, Interview, Japan, Theatre and Politics
Egypt’s Puppet Show Al-Aragouz Joins UNESCO’s Intangible Cultural Heritage List 24th December 2018 | Egypt, News, Puppetry
Global Queer Plays: A Q & A With Jeremy Tiang And Danish Sheikh 24th December 2018 | Interview, LGBTQ Theatre, London, United Kingdom
An Introduction To The National Disability Theatre: In Conversation With Mickey Rowe 23rd December 2018 | Interview, Theatre and Disability, United States of America
Identity, Technology, Nostalgia: The Theater Of Ivo Van Hove, Robert Lepage, And The Wooster Group 23rd December 2018 | Belgium, Canada, Essay, New York, Transmedia, United States of America
2018 Was The Year In Japan That Saw The Stage Sing, While Contemporary Drama Barely Made A Squeak 22nd December 2018 | Japan, Musical Theatre, News, Transcultural Collaborations
Terrific Power: “St. Kilda” at the So-Fi Festival in NYC 21st December 2018 | Festivals, New York, Review, Theatre and Gender, United States of America
“Sycorax, Cyber Queen of Qamara”: A Conversation with Joan Kane and Sandra Bargman 21st December 2018 | Interview, New York, Producing, United States of America
“Magic Mike Live,” London Hippodrome, Review: “A Frenzy Of Hallucinogenic Mansplaining, Fatman Scoop, And Abs” 20th December 2018 | London, Review, United Kingdom
Art In Astrophysics: Science in Indian Theatre 19th December 2018 | Acting, India, Review, Theatre and Science
French Highlights At Chicago International Puppet Theater Festival 19th December 2018 | Chicago, Festivals, France, News, Puppetry, United States of America
“Breath And Imagination”: The Rediscovery Of Roland Hayes 18th December 2018 | Boston, Musical Theatre, Review, United States of America
Transformation In Contemporary Indian Theater: Abhilash Pillai’s “Helen” 17th December 2018 | Essay, India, Transmedia
Theatre Review: Xameleon Theatre Presents “A Dog’s Heart”–”A Brilliantly Clever Production” 17th December 2018 | Adaptation, London, Review, Russian Theatre Abroad, United Kingdom
Istanbul Theater Festival Draws International Troupes Into The City 16th December 2018 | Festivals, News, Turkey
Anthony Neilson’s “The Tell-Tale Heart” At The National Theatre: Edgar Allan Poe’s Gothic Chiller 16th December 2018 | London, Review, United Kingdom
“My Kingdom For A…”–What?! Andrei Şerban’s “Richard III” At The Radnóti Theatre, Budapest 15th December 2018 | Hungary, Review
Ellen Pearlman: Brain Opera, Telematic Performance, And Decoding Dreams 15th December 2018 | Interview, New York, Theatre and Opera, Transmedia, United States of America
Enlarging The World For Little ‘Uns 14th December 2018 | Israel, Puppetry, Review, Theatre for Young Audiences
Artistic Collaborations In Southeast Asia–Current Gaps And What’s Next For Producers 13th December 2018 | Interview, Producing, Singapore, Transcultural Collaborations
Pushing Early Regional Exchanges And Responding To Artists’ Needs 12th December 2018 | Interview, Producing, Singapore, Transcultural Collaborations
A Producer’s Life–Catalysing Exchanges And Supporting Art-Making In Southeast Asia 11th December 2018 | Interview, Producing, Singapore, Transcultural Collaborations
Sheetala Bhat Documents The Lives Of Female Performers In Colonial India 11th December 2018 | Books, India, Theatre and Gender
Sunandha Raghunathan’s “Bad Hindu” Is Caught Between Two Worlds 11th December 2018 | Directing, India, Interview
“Wet: A DACAmented Journey”: Living As An Undocumented Immigrant 11th December 2018 | Boston, Review, Theatre and Politics, United States of America
“Chasing Champions: The Sam Langford Story” by Nova Scotia Playwright Jacob Sampson 10th December 2018 | Canada, Review, Theatre and Politics
In The Unseen World: Performing Storytelling In The World Of Indigenous Peoples 10th December 2018 | Canada, Review
She She Pop: Politely But Firmly To The Boundary Of Shame 9th December 2018 | Germany, Immersive Theatre, Review, Theatre and Politics
Suzanne Foellmer: Choreography As A Form Of Protest 8th December 2018 | Germany, Interview, Theatre and Politics
Interview with Michael Arden 8th December 2018 | Interview, Musical Theatre, United States of America
And Then There Were None: Larissa FastHorse’s “The Thanksgiving Play” 7th December 2018 | New York, Review, Theatre and Politics, United States of America
Review: “Man In The Ring” By Michael Cristofer 7th December 2018 | Boston, LGBTQ Theatre, Review, United States of America
Less Is More Or Less Is Less: The Balancing Act Of Designing Big Musicals In Small Spaces 6th December 2018 | Design, Interview, United States of America
Amazing Grace: The Barrow Group Presents “The Tricky Part” 6th December 2018 | LGBTQ Theatre, New York, Review, United States of America
Alonzo King Lines Ballet “Sutra” Unites The World 5th December 2018 | Canada, Review, Theatre and Dance
“Chasing The New White Whale”: Neither Fish Nor Fowl 5th December 2018 | New York, Review, United States of America
Guiding Principles: A New Play Takes Hong Kong’s Educational System To Task 4th December 2018 | China, Directing, Hong Kong, Review
Do You Speak Tech? Report From An Interdisciplinary And Cross-Cultural Partnership 4th December 2018 | Essay, Europe, Transcultural Collaborations
For The Love of Theatre–How The First Black Othello Changed My Life 3rd December 2018 | Books, United Kingdom
“European Cultural Identity” By Enzo Balboni And Annamaria Cascetta: Law, History, Theatre, And Art 3rd December 2018 | Books
Ian McKellen Tour 2019: Tickets, Dates, And Venues For 80th Birthday One Man Shows 3rd December 2018 | Acting, News, United Kingdom
In “The Making of King Kong,” a Hallucinatory Descent Into the American Imagination 3rd December 2018 | New York, Review, Theatre and Politics, United States of America
Friday Essay: 50 Shades Of Shakespeare–How The Bard Sexed Things Up 2nd December 2018 | Australia, Essay
“The Wider Earth” at The Natural History Museum: Adapt, or die! 2nd December 2018 | London, Review, United Kingdom
The Use Of Children In Milo Rau’s “Five Easy Pieces”: Exploitation, Or Confrontational Theatre? 1st December 2018 | Directing, Essay, Germany
Legacy And Genius In Machover’s New Opera “Schoenberg In Hollywood” 1st December 2018 | Boston, Review, Theatre and Opera, United States of America
Pilgrims’ Progress: Larissa FastHorse’s “The Thanksgiving Play” 29th November 2018 | Devised Theatre, New York, Review, Theatre and Politics, United States of America
Is The New York Theater Scene Serving Disabled Artists And The Disabled Population? 29th November 2018 | New York, Theatre and Disability, United States of America
“Dear Dsylexia”: A Truthful Theatre Journey In A Dyslexic World 29th November 2018 | Review, Spain, Theatre and Disability
“Hadestown,” National Theatre, Review: Folk Opera That Dazzles Despite Its Imperfections 28th November 2018 | London, Review, United Kingdom
“Androcles and the Lion” And “Espæce” At The Pittsburgh International Festival Of Firsts 27th November 2018 | Pittsburgh, The Pittsburgh Tatler
“Hadestown,” The Cult Album That Went To Broadway: “Hades Isn’t Based On Trump–But Trump Might Be Based On Hades” 27th November 2018 | London, News, Theatre and Opera, United Kingdom
Puccini’s “Turandot” In Galati: From The Fairy Tale To The Inner Life 27th November 2018 | Italy, Review, Romania, Theatre and Opera
Hong Kong Ballet’s “Giselle” at Hong Kong Cultural Centre 26th November 2018 | Hong Kong, Review, Theatre and Dance
“Blue Kettle” And “Here We Go”: A First Rate Revival Of Two Of Caryl Churchill’s Plays 26th November 2018 | Boston, Review, United States of America
“Muhnochini”: Wrestling With Feminine Forces 25th November 2018 | Devised Theatre, India, Review, Theatre and Gender
Stages Of Womanhood: On Female Theatre In The Arab World 25th November 2018 | France, Morocco, News, Theatre and Gender, Transcultural Collaborations
Pioneering Black Superstar Immortalized on Stage 25th November 2018 | Review, Theatre and Gender, United States of America
This Extraordinary Mechanical Puppet Theater Will Take You Back To 19th Century Russia 25th November 2018 | Puppetry, Russia
Battlefield Generations: On The Iraqi Theatre Play “A Smell Of War” 24th November 2018 | Egypt, Festivals, Review
Interview With Clara Fernandez-Vara: “Your Spectator Is Also Your Player” 23rd November 2018 | Interview, New York, Transmedia, United States of America
How To Breathe Soul Into A Machine! A Plea For More Digital Tenderness 23rd November 2018 | Germany, News, Transmedia
“OnlyHuman” At Danspace Project 22nd November 2018 | New York, Review, Theatre and Dance, United States of America
Don DeLillo’s “Love-Lies-Bleeding” At The Coronet Theatre 22nd November 2018 | London, Review, United Kingdom
Examining Gender Issues Through An Ancient Myth: 27 Degrees’ “Medusa” At Crypt Gallery 22nd November 2018 | London, Review, Theatre and Gender, United Kingdom
Berlin: Governing A “Creative” City 21st November 2018 | Essay, Germany, Producing, Theatre and Politics
Stan Lai: Between Laughter And Tears 21st November 2018 | Review, Taiwan, Transcultural Collaborations
Festival Des Francophonies En Limousin. International Francophone Theatre In All Its Diversity 21st November 2018 | Festivals, France, News
Tom Stoppard’s “The Hard Problem” Looks for Humanity in Human Consciousness 20th November 2018 | New York, Review, United States of America
(LA)Phil/The Industry Flexes Fluxus With Cage’s “Europeras” 19th November 2018 | Festivals, Los Angeles, Review, Theatre and Opera, United States of America
“Fun Home”: An Extraordinary Musical 19th November 2018 | Boston, LGBTQ Theatre, Musical Theatre, Review, United States of America
Invertigo Dance Theatre Company: A Conversation With Laura Karlin And Sofia Klass 18th November 2018 | Interview, Los Angeles, Theatre and Dance, Theatre and Disability, United States of America
An Interview With Playwright Alexis Roblan 18th November 2018 | Interview, New York, Playwriting, United States of America
“The Drowning Girls”: A Story Of Misogyny And Murder 18th November 2018 | Canada, Immersive Theatre, Review
Dystopian Fairy Tale: Faezeh Jalali Adapts Vineet Bhalla’s Award Winning Play, “A Farming Story,” For The Mumbai Stage 18th November 2018 | Adaptation, Directing, India
A Tragedy With A Happy Ending: “The Emperor And The Concubine” By The China National Peking Opera Company At London’s Sadler’s Wells 17th November 2018 | China, London, Review, United Kingdom
Going To War And Making Revolution At The Bâtard Festival 17th November 2018 | Belgium, Festivals, Review, Theatre and Politics
Kampala International Theatre Festival, 2018 Edition 17th November 2018 | Festivals, News, Transcultural Collaborations, Uganda
Nick Stafford’s “War Horse” At The National Theatre 16th November 2018 | Adaptation, London, Puppetry, Review, United Kingdom
“The Prom” Is a Celebratory Trumpian Footloose When We Need It Most 15th November 2018 | Musical Theatre, New York, Review, United States of America
Ecce Homo: “The Great Tamer,” By Dimitris Papaioannou. Dance Umbrella Festival 2018, London, Sadler’s Wells 15th November 2018 | Festivals, Greece, Review, Theatre and Dance, United Kingdom
Zadie Smith’s “White Teeth” at The Kiln Theatre 14th November 2018 | Adaptation, London, Review, United Kingdom
Words On The Street: The 36th Edition Of The International Street Theatre Festival In Jelenia Góra 14th November 2018 | Essay, Festivals, Poland, Theatre and Politics
Peking Opera At The British Library: The Triumph Of Xieyi 13th November 2018 | China, Chinese Theatre Abroad, London, Review, United Kingdom
Luke Barnes’s “All We Ever Wanted Was Everything” At The Bush Theatre 12th November 2018 | London, Review, Theatre and Opera, United Kingdom
The Re-Invention Of Subtitling. A New Technical Approach To The International Market 11th November 2018 | Essay, Romania, Theatre and Science, Translation
Telling A Thai Tale: A Dance Dramaturg’s Take 11th November 2018 | Dramaturgy, Essay, Thailand, Theatre and Dance, Transcultural Collaborations, United Kingdom
“While I Was Waiting” Captures The Tragedy Of The Syrian Civil War In Damascus 10th November 2018 | France, Review, Syria, Theatre and Politics
Decide How To Decide. Managing Processes In International Interdisciplinary Projects 10th November 2018 | Europe, News, Transcultural Collaborations
“Daniel’s Husband” At Westside Theatre 10th November 2018 | LGBTQ Theatre, New York, Review, United States of America
“Oedipus Schmoedipus” at HKREP Black Box Theatre 9th November 2018 | Applied Theatre, Australia, Hong Kong, Review
Theatre Meeting 2018: The Sun As The Last Frontier 9th November 2018 | Essay, Festivals, Germany, Transcultural Collaborations
Traditional Storytelling Meets New Media Activism In Iran 8th November 2018 | Australia, Essay, Iran, Transcultural Collaborations
“Sound Of The Beast” Slams Brutality, Inequality, And Racism 8th November 2018 | Canada, Immersive Theatre, LGBTQ Theatre, Review
“Silence” At The NAC: The Romantic Life Of A Couple Behind The Invention Of The Telephone 8th November 2018 | Canada, Review
At LCT, “Plot Points In Our Sexual Development” Traces the Edges of Queer Intimacy 8th November 2018 | LGBTQ Theatre, New York, Review, United States of America
“The Ferryman” Steers Us to the Crossroads of Family and Myth, History and Tradition 8th November 2018 | New York, Review, United States of America
“Torch Song” Breathes New Life, Radiantly Led By Michael Urie 8th November 2018 | LGBTQ Theatre, New York, Review, United States of America
It’s Ella Hickson’s Moment (Of Honesty) 7th November 2018 | Interview, London, Playwriting, Theatre and Gender, United Kingdom
Recalling Redfeather: Weaving Through History With Jani Lauzon And Marjorie Chan 7th November 2018 | Canada, Interview, Theatre and Opera
“Eve’s Song” Makes An Ambitious Attempt at Tackling Family and Violence in Black America 7th November 2018 | New York, Review, United States of America
“Company” Review, Gielgud Theatre: “You Can’t Imagine It Being Staged Any Other Way Again” 6th November 2018 | London, Musical Theatre, Review, United Kingdom
“We Will Not Be Silent”: A Story Of Anti-Fascist Youth 6th November 2018 | Boston, Review, Theatre and Politics, United Kingdom
Theatre Review: Xameleon Theatre’s “The Little Prince”–”A Play For Young And Old” 5th November 2018 | Adaptation, London, Review, United Kingdom
A New Take On “An Enemy Of The People” Fizzes With Contemporary Relevance 5th November 2018 | Adaptation, Australia, Review, Sydney
debbie tucker green’s “ear for eye” At The Royal Court 4th November 2018 | London, Review, United Kingdom
“Artificial Things”: An Introduction 4th November 2018 | Devised Theatre, Essay, Theatre and Dance, Theatre and Disability, United Kingdom
“Dysconnect” – Towards A Digital Political Dramaturgy: Re-Humanizing Agency In The Age Of Algorithms 4th November 2018 | Dramaturgy, Essay, Sweden, Transmedia
The Futility Of Mediated Communication: “Together” At Camden Underground 3rd November 2018 | China, Chinese Theatre Abroad, London, Review, Transmedia, United Kingdom
“We Always Depend On Other People”–Dramaturg Stefan Bläske On His Process Of “Five Easy Pieces” With Milo Rau 3rd November 2018 | Belgium, Dramaturgy, Hong Kong, Interview, Theatre and Politics
“Rags Parkland Sings The Songs Of The Future” – Sci-fi Folk Concert at Ars Nova 2nd November 2018 | New York, Review, United States of America
Jonathan Kalb Interviews Himself On Daniel Fish’s “Oklahoma!” 2nd November 2018 | Interview, Musical Theatre, New York, Review, Theatre and Disability, Transcultural Collaborations, United States of America
An Intricate Rumination On The Partnership Between Music And Dance 2nd November 2018 | Festivals, London, Review, Theatre and Dance, United Kingdom
In “Midsummer” The Mobile Unit Delivers a Joyous Celebration of Life and Shakespeare 1st November 2018 | New York, Review, United States of America
Martin Crimp’s “Dealing With Clair” At The Orange Tree Theatre 1st November 2018 | London, Review, United Kingdom
“Art Doesn’t Exist To Be Liked” An Interview With Russian Stage Director, Timofey Kulyabin 1st November 2018 | Directing, Interview, Russia, Russian Theatre Abroad
“I Call Myself Princess” Is A Gifted Conduit For Escalating Ancestors 31st October 2018 | Canada, Review
Who Is Theater Maker Ellenor Riley-Condit? 31st October 2018 | Chicago, Devised Theatre, Directing, Interview, New York, United States of America
“The Barber Of Seville” at Boston Lyric Opera 30th October 2018 | Boston, Review, Theatre and Opera, United States of America
Dianne Wiest’s Winnie In Madison Square Park 30th October 2018 | New York, Review, United States of America
Miguel Septién A Great Direction Of “Kiss Of The Spider Woman”: A Risky And Avant-Garde Proposal 30th October 2018 | Directing, Mexico, Musical Theatre, Review
“There Was No Evidence That I Was Spying For Russia. I Was Just Queer.” 29th October 2018 | Essay, LGBTQ Theatre, London, Theatre and Politics, United Kingdom
Prasanth Narayanan Is Giving Shape To A Novel Theatre Culture 29th October 2018 | India, Management, News
Bryony Kimmings’ “I Am A Phoenix, Bitch” 28th October 2018 | London, Review, Theatre and Gender, United Kingdom
Russian Theater Companies Are Using Augmented Reality To Draw In The Crowds 28th October 2018 | News, Russia, Transmedia
Cheek by Jowl and The Pushkin Theatre’s “Measure for Measure” 28th October 2018 | Boston, Review, Russia, Russian Theatre Abroad, Theatre and Gender, Theatre and Politics
David Edgar’s “Trying It On” At The Royal Court 28th October 2018 | London, Playwriting, Review, Theatre and Politics, United Kingdom
“Frankenstein: How To Make A Monster” at Battersea Arts Centre 27th October 2018 | London, Review, United Kingdom
“Measure For Measure”: Shakespeare’s #MeToo Moment 27th October 2018 | Boston, Review, Russia, Russian Theatre Abroad, Theatre and Gender
Martin McDonagh’s “A Very Very Very Dark Matter” At The Bridge Theatre 27th October 2018 | London, Review, United Kingdom
The Croatian National Theatre Stages Henrik Ibsen’s “Peer Gynt” In Zagreb 26th October 2018 | Croatia, News, Norway, Transcultural Collaborations
The Modern Woman In “Artemisia’s Intent” 26th October 2018 | Italy, New York, Review, Theatre and Politics, United States of America
Léon Bakst, The Eclectic Genius Of The Ballets Russes: A Documentary Exhibition In Venice 25th October 2018 | Design, Italy, News, Russia, Theatre and Dance
Oscar Wilde’s “Salome” At Irondale 25th October 2018 | New York, Review, Theatre and Dance, United States of America
“This Flight Tonight”: Joni Mitchell Remembered In Song 24th October 2018 | Canada, Directing, Review
Joy Wilkinson’s “The Sweet Science Of Bruising” at The Southwark Playhouse 24th October 2018 | London, Review, Theatre and Gender, United Kingdom
In “Trustees,” Belarus Free Theatre Mercilessly Demolishes Australia’s Cultural Debate 24th October 2018 | Australia, Belarus, Festivals, Melbourne, Review, Theatre and Politics, Transcultural Collaborations
Footwork Against Corruption: Via Katlehong And Gregory Maqoma’s “Via Kanana,” Dance Umbrella Festival, London 23rd October 2018 | Festivals, London, Review, South Africa, Theatre and Dance, United Kingdom
When Theatre Meets Contemporaneity: Praktika Theatre In Moscow 22nd October 2018 | Management, News, Russia
Ken Urban’s “A Guide For The Homesick” At The Trafalgar Studios 21st October 2018 | Boston, LGBTQ Theatre, London, Review, United Kingdom, United States of America
Tokyo Festival Looks To Throw Open Some Doors With Fringe Elements 21st October 2018 | Festivals, Japan, News
“Hurricane — The Life Of Tian Han” Tells The Story Of The Father Of Contemporary Chinese Theater 20th October 2018 | Directing, Interview, Japan
An Adaptation of Samuel Beckett’s “Watt” Questions Being And Perception 20th October 2018 | Adaptation, Festivals, Ireland, Melbourne, Review
Perspectives In Prison Theatre: Interview With Bruce Levitt And Lorraine Moller 19th October 2018 | Acting, Devised Theatre, Interview, United States of America
Mark Sonnenblick And “Midnight At The Never Get” 19th October 2018 | Interview, LGBTQ Theatre, Musical Theatre, New York, United States of America
Robert Alan Evans’s “The Woods” at The Royal Court 18th October 2018 | Acting, London, Playwriting, Review, United Kingdom
A Wry Takedown Of Pepys’s Misogyny: “17c” By Big Dance Theater, Dance Umbrella Festival, London 17th October 2018 | Festivals, London, New York, Review, United Kingdom, United States of America
Vinay Patel’s “An Adventure”: An Epic Reading of One Asian Family’s Global Migration Story 17th October 2018 | London, Playwriting, Review, Theatre and Gender, United Kingdom
“Shirley Valentine:” A Double-Toned Comedy About Finding Oneself 15th October 2018 | Canada, Review, Theatre and Gender
“En Masse” Is An Arresting Fusion Of Circus, Dance, And Classical Music 15th October 2018 | Australia, Festivals, Review, Theatre and Dance
Jo Clifford’s “Losing Venice” at The Orange Tree Theatre 15th October 2018 | LGBTQ Theatre, London, Playwriting, Review, Scotland, United Kingdom
The Expanding Notion Of Scenography And The Swiss Contribution To The 14th Prague Quadrennial 14th October 2018 | Design, Essay, Switzerland
Jasmin Vardimon: Adapting “Medusa” Myth In The Liquid Modernity Age 14th October 2018 | Adaptation, Essay, Review, Theatre and Dance, United Kingdom
Shaina Taub’s “Twelfth Night” At The Young Vic 13th October 2018 | London, Musical Theatre, Review, United Kingdom
David Hare’s “I’m Not Running” At The National Theatre 13th October 2018 | London, Review, Theatre and Gender, Theatre and Politics, United Kingdom
Moscow’s 2018 Liubimovka Festival: New Trends, Old Problems 12th October 2018 | Essay, Festivals, Russia, Russian Theatre - Featured
1980s Berlin Comes To Life In “Welcome The Bright World’s” Quest For “Truth” 11th October 2018 | Australia, Review
A Return To The Body: TAO Dance Theatre And Its “Straight Line Trilogy” 11th October 2018 | China, Essay, Theatre and Dance
A Second Time Around For “Truth Values: One Girl’s Romp Through M.I.T.’s Male Math Maze” 10th October 2018 | Boston, Review, Theatre and Gender, Theatre and Science, United States of America
Creative Strokes On A Historical Canvas: On Girish Karnad’s New Play “Rakshasa Tangadi” 10th October 2018 | India, Interview, Playwriting
Arabic Storytelling In Bahrain’s Theater Festival 10th October 2018 | Festivals, Palestine, Review, Theatre and Politics, Transcultural Collaborations
Speakeasy Succeeds With “Between Riverside And Crazy” 9th October 2018 | Boston, Review, United States of America
Sarah Kane’s “4.48 Psychosis” at New Diorama Theatre 9th October 2018 | London, Playwriting, Review, Theatre and Disability, Theatre and Gender, United Kingdom
“The Last Five Years”: Poignant Tale Of Failed Marriage 9th October 2018 | Canada, Musical Theatre, Review
Indigenous Theatre Would Thrive With Funds From The Canadian Government 8th October 2018 | Canada, Essay, Management
Too Close To Home: Stefano Massini’s “Intractable Woman” 7th October 2018 | Italy, New York, Review, Theatre and Politics, United States of America
How Theatre Training Can Boost Your Doctor’s Empathy 7th October 2018 | Canada, Essay, Theatre and Science
Playful Dogmatism: Milo Rau and Joachim Ben Yakoub in Conversation 7th October 2018 | Belgium, Interview
Golden Oldies: A Saitama Theater Festival For Elderly Actors Welcomes Seniors From Around The World 6th October 2018 | Festivals, Japan, Theatre and Age
Hal Coase’s “Mrs. Dalloway” At The Arcola Theatre 6th October 2018 | Adaptation, London, Review, United Kingdom
Why Did A Russian Provincial Theater Stage A Version Of Aldous Huxley’s Dystopian Novel? 5th October 2018 | Review, Russia, Theatre and Dance
Tekki Lomnicki And Tellin’ Tales Theatre: In Discussion 4th October 2018 | Chicago, Interview, Theatre and Disability, United Kingdom
Verdi’s “Rigoletto”: The Italian Closing Of The Season At The Teatr Wielki In Lodz 4th October 2018 | Italy, Poland, Review, Theatre and Opera
Adapting Identities: Freya Treutmann’s “Scratches” And “Evidence Of Codes” In Edinburgh 3rd October 2018 | Adaptation, Playwriting, Review, Theatre and Art, United Kingdom
Debris Stevenson’s “Poet In Da Corner” at The Royal Court 3rd October 2018 | London, Musical Theatre, Review, United Kingdom
Akinori Nakagawa Captures Frankie Valli In “Jersey Boys” 1st October 2018 | Essay, Japan, Musical Theatre
Epidaurus Lyceum: International Summer School Of Ancient Drama 1st October 2018 | Festivals, Greece, News, Transcultural Collaborations
From LifeForms To DanceForms: “4 Events” In Barcelona For Merce Cunningham Centennial 1st October 2018 | News, Spain, Theatre and Dance
The Language Of Secrecy In Brazilian Performance “Quaseilhas” 30th September 2018 | Brazil, Dramaturgy, Review, South America, Theatre and Art
“Free EU Roaming”: Adapting Catalan Referendum Into A Play 30th September 2018 | Adaptation, Devised Theatre, Festivals, Review, Theatre and Politics, United Kingdom
The Painter: An Allegory, By Lighting Designer Cory Pattak 30th September 2018 | Design, Essay, United Kingdom
“Sounds And Sorcery Celebrating Disney Fantasia”: Art Installation Or Theatre? 29th September 2018 | Dramaturgy, Immersive Theatre, London, Review, Theatre and Art, United Kingdom
Dawn King’s “Foxfinder” At The Ambassadors Theatre 28th September 2018 | London, Review, Theatre and Politics, United Kingdom
“I Was Most Alive With You” Pays Proper Tribute to The D/deaf Community 28th September 2018 | New York, Review, Theatre and Disability, United States of America
“Hong Kong Cool” By Hong Kong Ballet 27th September 2018 | Hong Kong, Review, Theatre and Art, Theatre and Dance
Pulitzer-Prize Winning Play “The Gin Game” Returns To Hong Kong 27th September 2018 | Hong Kong, News, Theatre and Age
Out Of The Extraordinary: Women-Centered New Plays From India 26th September 2018 | India, LGBTQ Theatre, Review, Theatre and Gender
“Heathers The Musical” Wildly Funny And In Deliciously Bad Taste 26th September 2018 | London, Musical Theatre, Review, United Kingdom
Stratford’s Production Of “Paradise Lost” Is A Stellar Achievement! 26th September 2018 | Canada, Festivals, Review
B+ For Broadway Across Canada’s “School Of Rock” 26th September 2018 | Canada, Musical Theatre, Review
“Upstart Crow”: Shakespeare Sitcom Is Really Quite Educational 25th September 2018 | Essay, Review, Theatre and Film, United Kingdom
GCTC: Playwright Tracks The Tudors And Our Fascination With Sexual Power 24th September 2018 | Canada, Review, Theatre and Gender
4 Russian Theatre Performances To See In U.S. And UK Cinemas This Season 23rd September 2018 | News, Russia, Russian Theatre Abroad
Sarah Kane’s Controversial 1990s Play “Blasted” Feels Prescient In The #MeToo Era 23rd September 2018 | Playwriting, Review, Theatre and Gender
Conversation With Élise Vigier, Director Of “Harlem Quartet” 22nd September 2018 | Adaptation, France, Interview
A Performative View on Kafka’s “The Great Wall” by Paper Tiger Theatre Studio (Beijing) 22nd September 2018 | Adaptation, China, Essay
Rob Roth’s “Soundstage” Fires Up Acoustic Imaginaries 22nd September 2018 | LGBTQ Theatre, New York, Review, Theatre and Gender, United States of America
Our Streets, Our City: “Not For Sale” By Guadalís Del Carmen Premieres At UrbanTheater Company 21st September 2018 | Chicago, Playwriting, Review, Theatre and Politics, United States of America
“Brick City” Brings A Positive Representation Of Disability To The Stage 21st September 2018 | Review, Theatre and Disability, United States of America
“All In A Night” – Forced Entertainment’s Marathon Production 20th September 2018 | New York, Review, United Kingdom, United States of America
The Shaw Festival’s “Henry V”: Does Shakespeare Deserve Such Treatment? 18th September 2018 | Canada, Festivals, Review
The Park’s New Festival: Light, Sound And Soul Make Art 17th September 2018 | Essay, Festivals, India, Theatre and Art, Theatre and Science
“The Magic Flute” on Sferisterio from Macerata 17th September 2018 | Italy, Review, Theatre and Opera
Dramaturging Performance, Pedagogy, and Protest in Boston, ATHE 2018 16th September 2018 | Boston, Dramaturgy, Essay, United States of America
Benedict Cumberbatch Drama School Will Teach Actors How To Voice Podcasts And Audiobooks 16th September 2018 | Acting, London, News, United Kingdom
“Women Get F*ed”: The Place Of Women In French Theatre 15th September 2018 | Essay, France, Theatre and Gender
“Cloudburst”: The Arrival Of A Bright New Actor On The Ottawa Scene 14th September 2018 | Canada, Review
“Białoszewski/Ginsberg VR” At Performing Garage 14th September 2018 | New York, Poland, Review, Transmedia, United States of America
Stratford Triumphs With “Napoli Milionaria,” A 20th Century Classic From Italy 13th September 2018 | Canada, Festivals, Italy
On Vera Mantero’s Residency Program For Brazilian Theater Troop Aisthesis 13th September 2018 | Brazil, Essay, Portugal, Transcultural Collaborations
Review: “The Rocky Horror Show” At The Stratford Festival 12th September 2018 | Canada, Festivals, LGBTQ Theatre, Review
Review: “Julius Caesar” At The Stratford Festival 12th September 2018 | Canada, Festivals, Review, Theatre and Gender
“Blackthorn,” Edinburgh Fringe–Review: “Like One Day Set In A Yorkshire Farming Community” 12th September 2018 | Festivals, Review, United Kingdom
Review: “Napoli Milionaria!” At The Stratford Festival 11th September 2018 | Canada, Festivals, Review
Young Work At TAZ #2018: Alice Bogaerts And Ingrid Berger Myhre 9th September 2018 | Adaptation, Belgium, Festivals, Review
Toto Too’s “Cloudburst” Is Rich In Truth And Humanity 8th September 2018 | Canada, Review, Theatre and Age
Temperament And Innovation: The Performing Arts In A Devolved Wales 7th September 2018 | Essay, Theatre and Politics, United Kingdom
New Russian Drama Week: 4 contemporary Russian plays 7th September 2018 | News, Playwriting, Russia, Russian Theatre Abroad
Oladipo Agboluaje’s “New Nigerians” At The Arcola Theatre 6th September 2018 | London, Review, Theatre and Politics, United Kingdom
Desi Drama And Neil Simon’s Enduring Legacy 5th September 2018 | India, News, Playwriting, United States of America, Worldwide
The Most Unusual Comedy Shows At The Edinburgh Fringe 2018 4th September 2018 | Festivals, Review, United Kingdom
Oskar Schlemmer: Why A Google Doodle Is Marking The German Artist Today 4th September 2018 | Essay, Germany, Theatre and Art
Interview With Opera Director Rodula Gaitanou: “The Culinary Traditions Give Me A Great Insight Into A Nation’s Taste For Hospitality” 3rd September 2018 | Directing, Greece, Interview, Theatre and Gender, Theatre and Opera
Renowned Egyptian Artist, Puppeteer Nagy Shaker Dies At 86 2nd September 2018 | Egypt, News, Puppetry
The Relationship Between Body And Screen In Studio Azzurro’s Performances Since The 1980s Until Today 31st August 2018 | Essay, Italy, Theatre and Art, Transmedia
“Angels in Suits” – The Operas of George Benjamin & Martin Crimp 29th August 2018 | Dramaturgy, Essay, London, Netherlands, Theatre and Opera, United Kingdom
Tony Award-Winning U.S. Playwright Neil Simon Dies At 91 28th August 2018 | News, Playwriting, United States of America, Worldwide
Moi Qui Parle A Moi-Même Dans Le Numérique Auditory Alienation And Liberation For The Intermedial Performer 28th August 2018 | Acting, Canada, Essay
“Angry Alan” – Edinburgh Fringe Review: An Open Examination Of The Men’s Rights Movement 27th August 2018 | Festivals, Playwriting, Review, Theatre and Gender, United Kingdom
Korean Theater Of Musical Comedy In Kazakhstan Receives CIS Cultural Award 26th August 2018 | Kazakhstan, News, Transcultural Collaborations
Body As Medium. Between Theory And Technology Of Theatre 26th August 2018 | Essay, Poland, Transmedia
“Jayde Adams” at Edinburgh Fringe, Review: A Rafter-Rattling Hour From The Bristolian Diva 25th August 2018 | Festivals, Review, United Kingdom
“Status” by The Summerhall: “It’s Not Another Brexit Show,” 25th August 2018 | Festivals, Review, Theatre and Politics, United Kingdom
Dramatist Hideto Iwai Connects With His Audiences In Ways He Never Could Have Imagined By Being Honest About His Own Life Experiences 24th August 2018 | Interview, Japan, Playwriting
Marguerite Duras’ “La Maladie De La Mort”: Katie Mitchell and Alice Birch Collaboration 24th August 2018 | Adaptation, Festivals, Review, Theatre and Gender, Transcultural Collaborations, United Kingdom
Creating Tapestries Of Sound 23rd August 2018 | India, Interview, Japan, Transcultural Collaborations
Denim And Revolution: Belarus Free Theatre’s “Generation Jeans” Resonates 22nd August 2018 | Belarus, Review, Theatre and Politics
Jon Harvey, Edinburgh, Review: The Most Surprising Show Of The Fringe 21st August 2018 | Festivals, Review, United Kingdom
“Silk Road (How To Buy Drugs Online”) at The Trafalgar Studios 21st August 2018 | London, Playwriting, Review, United Kingdom
Laura Wade’s “Home, I’m Darling” At The National Theatre 18th August 2018 | London, Playwriting, Review, Theatre and Gender, United Kingdom
Korean Theatre at The Edinburgh Fringe 2018: “About Lady White Fox with Nine Tales . . .” 18th August 2018 | Adaptation, Festivals, Interview, South Korea
Give Meaning Through Architecture – Jan Pappelbaum And “What Is Stage – From Text to Space” 17th August 2018 | Design, Germany, Hong Kong, News
How Norwegians Do It (Play Ibsen, That Is) 17th August 2018 | Adaptation, Norway, Poland, Review, Theatre and Gender
New Artistic Director Shakes Up The St. Lawerence Shakespeare Fest With A Season Of Love 16th August 2018 | Canada, Festivals, News
A Tribute to Winston Ntshona: A Pioneer of Storytelling and Activism in South Africa 16th August 2018 | News, South Africa
“Lysa And The Freeborn Dames” Pays Tribute To Feminist Protests 15th August 2018 | Australia, Review, Theatre and Gender
“Nina’s Got News” – Edinburgh Fringe, Review: Frank Skinner’s Debut Play Is A Wasted Opportunity 14th August 2018 | Festivals, Review, United Kingdom
Lost Voice Guy – Edinburgh Fringe, Review: Pointed Laughs From The Britain’s Got Talent Winner 14th August 2018 | Festivals, Review, Theatre and Disability, Theatre and Politics, United Kingdom
Drama In The World Of B-Graders: “Item” Explores Hindi Cinema’s Underbelly 13th August 2018 | India, Review, Theatre and Film
Brian Friel’s “Aristocrats” At The Donmar Warehouse 12th August 2018 | London, Review, United Kingdom
Art And Character, Or: I DO Care How We Go Down In History 11th August 2018 | Review, Romania, Theatre and Film, Theatre and Politics
Vince Laws: “A Very Queer Nazi Faust” – Participatory, Experimental Transmedia Performance 11th August 2018 | Essay, Immersive Theatre, LGBTQ Theatre, Theatre and Disability, Transmedia, United Kingdom
Rose Matafeo’s “Horndog” – Edinburgh Fringe, Review: “Invigoratingly Enjoyable” 10th August 2018 | Festivals, Review, United Kingdom
Traverse Theatre’s “What Girls Are Made Of,” Edinburgh, Review: An Irresistible Tale Of Britpop Fame And Misfortune 9th August 2018 | Festivals, Review, United Kingdom
Kyoto As A Stage For World Theatre – An Interview With Kyoto Experiment Program Director Yusuke Hashimoto 9th August 2018 | Festivals, Interview, Japan, Producing
Girls Being Bad: “Our Dear Dead Drug Lord” By Alexis Scheer 8th August 2018 | Boston, Playwriting, Review, Theatre and Gender, United Kingdom
“The Long Forgotten Dream” Raises Uneasy Questions About Performance And Colonization 8th August 2018 | Australia, News, Theatre and Politics
“Remembering Stanislavsky”: A Tribute To The Great Russian Master At The University Of Macerata 7th August 2018 | Directing, Italy, News, Russian Theatre Abroad
The Beauty Of The Bodrum Ballet Festival 7th August 2018 | Festivals, News, Theatre and Dance, Turkey
Lysistrata In The New World: A Rereading Of The Greek Comedy That Surpasses Its Source Of Inspiration 6th August 2018 | Canada, Review
Good Theatre Surpasses Language: An Interview with Mari-Liis Lill, Estonian Actress 5th August 2018 | Acting, Estonia, Interview, Russia
Technology And Disability Performance: Our Shifting Perspectives. 4th August 2018 | Australia, Essay, Theatre and Disability
“Melancholia” Artfully Brings The End Of The World To The Stage 3rd August 2018 | Adaptation, Australia, Review, Theatre and Film
From Child Stars To Lost Theatres: Capturing Australia’s Ephemeral History Of Live Performance 2nd August 2018 | Australia, Essay
Actor Cures Stroke After Setting Up Theater At Psychiatric Hospital 2nd August 2018 | Acting, News, Russia, Theatre and Disability
