May

EPIC Players Creates Employment and Training Opportunities for Autistic & Neurodivergent Theatre Makers

26th May 2022 | Education, Musical Theatre, New York, News, Theatre and Disability, United States of America
“Son of Byblos” Brings a Nuanced and Powerful Understanding of Lebanese Family Life to the Australian Stage

26th May 2022 | Australia, Review, Theatre and Decolonization, Theatre and Gender
Belgian Premiere of “Molly Bloom” in Ghent

26th May 2022 | Adaptation, Belgium, News
Where Earth Meets The Sky: Decolonizing Latinxfuturistic Theatre

25th May 2022 | TF54, Theatre and Decolonization, Theatre Forum
“The Burnt City,” One Cartridge Place

24th May 2022 | Adaptation, Immersive Theatre, London, Review, United Kingdom
Interactive Map: “Theatre and Decolonization” at “The Theatre Times”

23rd May 2022 | Essay, Theatre and Decolonization, Worldwide
“Abril imaginario”: One Step Beyond Immersive and Collaborative Theater

22nd May 2022 | Immersive Theatre, Participatory Theatre, Review, Spain
“The Legend of the Waitress & the Robber”: World Premiere of NYC-Seoul Collaboration Inspired by Schiller and Hong Gildong

21st May 2022 | Interview, New York, South Korea, Transcultural Collaborations, United States of America
From Uruguay to Auroville: Clowning Duo Brings Physicality and Humour to the Stage

20th May 2022 | Acting, Festivals, News, Uruguay
Ivo van Hove’s “Age of Rage” at Barbican

19th May 2022 | Adaptation, Netherlands, Review, United Kingdom
“Theater Now Is Important, It Gives People the Feeling that They Are Not Alone”: An Interview with the Ukrainian Playwright Andriy Bondarenko

18th May 2022 | Interview, Playwriting, Theatre and Politics, Ukraine
“Stay Woke” Reminded Me of The Importance of Telling Stories of Injustice by Those Most Affected by It

17th May 2022 | Australia, LGBTQ Theatre, Review
“Black Boy,” or What to Do with the White Theatre Critic

16th May 2022 | Adaptation, France, Review, Theatre and Decolonization
Why Costume Design Is a Snapshot of Hong Kong Life

15th May 2022 | Design, Essay, Hong Kong, Theatre and Film
Gregg Mozgala, Broadway Actor Organizes Festival Celebrating Deaf/Disabled Artists

14th May 2022 | Festivals, Interview, New York, Theatre and Disability, United States of America
“Russia Is My Country, Who Better Than Me to Clean Up the Ruins of Our Humanity:” Interview with Elena Kovalskaya – Part II

13th May 2022 | Interview, Management, Russia, Theatre and Politics
“Russia Is My Country, Who Better Than Me to Clean Up the Ruins of Our Humanity”: Interview with Elena Kovalskaya – Part I

12th May 2022 | Interview, Management, Russia, Theatre and Politics
Daniela Bershan and Others — “OCEAN”

11th May 2022 | Acting, Norway, Review, Theatre and Gender
Egyptian Playwright Rasha Abd Elmonem: A Passion for Theatre

10th May 2022 | Egypt, Interview, Playwriting, Theatre and Politics
The Revolution of Tragedies: An Interview with Romanian Director Andrei Majeri

9th May 2022 | Adaptation, Directing, Interview, Romania
“Children of A Clockwork Orange” at the Youth Theatre, Novi Sad

8th May 2022 | Adaptation, Review, Serbia, Theatre and Politics, Theatre for Young Audiences
Dolce & Duce: “The Taming of the Shrew” at the Mossovet Theatre

7th May 2022 | Adaptation, Review, Russia, Theatre and Politics
“King Lori – Instagration” at The Theatre ODA

6th May 2022 | Devised Theatre, Kosovo, Review, Switzerland, Theatre and Politics
As Utpal Dutt’s Play “Barricade” Completes 50 Years, a Look at How the Thespian Spoke Truth to Power

5th May 2022 | Essay, India, Playwriting, Theatre and Politics
“The Brothers Karamazov” at The Zagreb Youth Theater

4th May 2022 | Adaptation, Croatia, Review, Theatre and Politics, Theatre and Religion
“Heroes of the Fourth Turning”: How Theatre Can Serve as a Mode of Inquiry into Right Wing Ideas

3rd May 2022 | Australia, Playwriting, Review, Theatre and Politics
Guide to the Classics: Shakespeare’s “Hamlet,” The Everest of Literature

2nd May 2022 | Education, Essay, Transmedia, United Kingdom
“Bloody Difficult Women” at The Riverside Studios

2nd May 2022 | London, Playwriting, Review, Theatre and Politics, United Kingdom

April

Honesty and Experience: Interview with Deirdre V. Lyons, Actress, VR-Actress and Producer

30th April 2022 | Immersive Theatre, Interview, Transmedia, United States of America
In Tonderai Munyevu’s “Mugabe, My Dad & Me,” The Personal Becomes the Political

29th April 2022 | Playwriting, Review, Theatre and Politics, Zimbabwe
The First Cabaret Theater in the Slavic World: An Interview with Lafayette

27th April 2022 | Design, Immersive Theatre, Interview, Producing, Serbia
“For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy” at Royal Court

26th April 2022 | London, Playwriting, Review, Theatre and Politics, United Kingdom
Jackie Sibblies Drury’s “Marys Seacole” at the Donmar Warehouse

25th April 2022 | London, Review, Theatre and Gender, Theatre and Politics, United Kingdom
Independent Theatre in Romania: “You Can’t Change the System from the Inside”

24th April 2022 | Interview, Romania, Theatre and Politics, Transcultural Collaborations
“Moreno,” Theatre503

23rd April 2022 | London, Playwriting, Review, Theatre and Politics, United Kingdom
Turkish Dancers’ Fresh Take on Reinterpreted “Swan Lake”

22nd April 2022 | Design, Theatre and Dance, Turkey
Embrace All of Me: Jocelyn Kuritsky’s “A Simple Herstory”

21st April 2022 | Producing, Review, Theatre and Gender, United States of America
Ecocide is Everywhere in Serbia, but Eco-Theatre Remains on the Fringes

20th April 2022 | Applied Theatre, Essay, Serbia, Theatre and Politics
The Power of Reflection in “Portrait Avedon-Baldwin, Entretiens imaginaires” at the Théâtre du Rond Point, Paris

19th April 2022 | France, Playwriting, Review, Theatre and Decolonization, Theatre and Politics
Mike Bartlett’s “Scandaltown” at Lyric Hammersmith

18th April 2022 | Playwriting, Review, Theatre and Politics, United Kingdom
Oracle of Pop Art Affirmed in “Chasing Andy Warhol”

17th April 2022 | Immersive Theatre, New York, Review, Theatre and Art, United States of America
Met Opera Actors Wink at Velazquez’s Well-known Painting

16th April 2022 | New York, Theatre and Art, Theatre and Opera, United States of America
“Bacon” at the Finborough Theatre

15th April 2022 | LGBTQ Theatre, Playwriting, Review, United Kingdom
“Ghosts Of The Titanic,” Park Theatre

14th April 2022 | London, Review, Theatre and Politics, United Kingdom
Theater Fest to Host Famous Plays by Foreign, Local Groups in Adana

13th April 2022 | Adaptation, Festivals, News, Turkey
About the futureStage Manifesto

12th April 2022 | Applied Theatre, Essay, Theatre and Politics
Opera on Ottoman Sultan Bayezid I to be Staged in Istanbul

11th April 2022 | News, Theatre and Opera, Turkey
When Languages Fall Apart: InlanDimensions International Arts Festival

10th April 2022 | Festivals, Hong Kong, Japan, Poland, Review, Transcultural Collaborations
The Dismantling of Mourning

9th April 2022 | Adaptation, Poland, Review, Theatre and Politics
Ambiguity and Amorality: Is Douglas Stewart’s “Ned Kelly” One of Australia’s Great Forgotten Plays?

8th April 2022 | Australia, Directing, Essay, Theatre and Politics
Why Weren’t Women Allowed to Act in Shakespeare’s Plays?

7th April 2022 | Education, Essay, Theatre and Gender
An Argentinian Summer Theater Festival in Wintertime Madrid

6th April 2022 | Argentina, Festivals, News, Spain, Transcultural Collaborations
An “Extraordinary Collaboration” — “Watershed: The Death of Dr. Duncan” is a Sensational and Important Work

5th April 2022 | Australia, LGBTQ Theatre, Musical Theatre, Review
“Blood Brothers” Tells a Tangled Tale of Nature Versus Nurture

4th April 2022 | Japan, Musical Theatre, Review
Bell Shakespeare’s “Hamlet” Highlights the “Claustrophobic Personal Dynamics” of Shakespeare’s Play

3rd April 2022 | Adaptation, Australia, Directing, Review
“The Human Voice” at Harold Pinter Theatre

2nd April 2022 | Adaptation, Directing, London, Review, United Kingdom
“Shedding a Skin” at Soho Theatre

1st April 2022 | Playwriting, Review, Theatre and Gender, United Kingdom

March

“Cock” at The Ambassadors Theatre

30th March 2022 | London, Review, Theatre and Gender, United Kingdom
Theatre as Shelter: on Artists’ in Ukraine (And Beyond) Response to the Russian Invasion

29th March 2022 | Essay, Poland, Puppetry, Theatre and Politics, Ukraine
World Theatre Day Message of Polish Centre of the International Theatre Institute on 27 March 2022 in Polish, Ukrainian, and English

28th March 2022 | News, Poland, Theatre and Politics, Transcultural Collaborations
Peter Sellars Delivers International World Theatre Day Message 2022

27th March 2022 | News, Worldwide
To Be a Machine: Is Hong Kong the Last Place Where Lockdown Theatre Has a Place?

26th March 2022 | China, Covid-19, Festivals, Hong Kong, Ireland
Beautiful and Deeply Impactful, a Kind of Deep Communion: “Sex and Death_and the Internet” is a Gift

26th March 2022 | Australia, Review, Theatre and Age, Transmedia
Under the Water – The Journey between Taipei and Copenhagen

25th March 2022 | Denmark, Interview, Taiwan, Transcultural Collaborations, Transmedia
“Dream Hou$e”—The Costs of Home

24th March 2022 | Playwriting, Review, Theatre and Politics, United States of America
“Red Pitch”, Bush Theatre

23rd March 2022 | Directing, London, Review, Theatre and Politics, United Kingdom
“The Hunchback of Notre Dame” Brings 15th-Century Paris to Istanbul

22nd March 2022 | Musical Theatre, Review, Turkey
Performing Arts Conference Sets the Pace for Future Theatrical Discourse

21st March 2022 | Education, Kenya, News, Theatre and Decolonization, Transcultural Collaborations
“The Smallest Stage” is an Intricately-Crafted Play for Families about Incarceration – And The Power of Stories

20th March 2022 | Australia, Devised Theatre, Festivals, Review
ProEnglish Theatre in Kyiv: It’s Important that Art Doesn’t Stop during War

19th March 2022 | Interview, Theatre and Politics, Translation, Ukraine
“The Forest,” Hampstead Theatre

18th March 2022 | Acting, Directing, London, Review, United Kingdom
“Shirley Valentine” Review: TOTB

17th March 2022 | Review, South Africa, Theatre and Gender
The Plight of DREAMers Moves To A National Stage; Maybe This Will Truly Help

16th March 2022 | Musical Theatre, New York, Theatre and Politics, United States of America
“Fever,” Mladinsko Theatre

15th March 2022 | Review, Slovenia, Theatre and Politics
The Pandemic Nearly Killed Theatre — The Creative Way It Fought Back Could Leave It Stronger

14th March 2022 | Covid-19, Essay, Producing, United Kingdom
Musical Theatre Actors of Ukraine in War

13th March 2022 | Interview, Musical Theatre, Theatre and Politics, Ukraine
“Clouds Like Waves” Review

12th March 2022 | Devised Theatre, Review, South Africa
Editorial for International Online Theatre Festival (IOTF)

11th March 2022 | Essay, IOTF
Medical Science and the Irony of Sex Education

10th March 2022 | India, Review, Theatre and Gender, Theatre and Science
“One Arm” Review: Artscape

9th March 2022 | Adaptation, Review, South Africa
Still a Bitter Pill: An Involving Play of Love and Loss

8th March 2022 | LGBTQ Theatre, Review, United States of America
Mariana Bodnar from Ukrainian Musical Theatre: We Woke Up in the New Reality

7th March 2022 | Interview, Musical Theatre, Theatre and Politics, Ukraine
Nicoleta Esinencu: On Making Enemies and Creating Communities

6th March 2022 | Interview, Moldova, Theatre and Politics
“The Double Life”

5th March 2022 | Kosovo, Review, Transcultural Collaborations
Free Performance: A Response to metaLAB’s futureStage Manifesto

4th March 2022 | Essay, Germany, Theatre and Science, Transmedia, United States of America
“The Chairs” at The Almeida Theatre

3rd March 2022 | Acting, London, Review, Translation, United Kingdom
“Uncanny Valley” at The Battersea Arts Centre

2nd March 2022 | Germany, London, Review, Theatre and Science, Transmedia, United Kingdom
Bonnie Marranca: “The Divisiveness of Contemporary American Society Impacts All Aspects of Theatre”

1st March 2022 | Interview, Theatre and Politics, United States of America

February

Elitism vs Fatigue, the Alice’s Rabbit Effect

28th February 2022 | Essay, Spain
Kenya Theatre Awards 2022 – Complete Winners List

27th February 2022 | Kenya, Musical Theatre, News
Dmitry Krymov Plumbs the Depths of Memory (part 2)

26th February 2022 | Design, Directing, Review, Russia
Dmitry Krymov Plumbs the Depths of Memory (part 1)

25th February 2022 | Design, Directing, Review, Russia
The Anatomy of Lost Love: Russian Culture at War

24th February 2022 | Essay, Russia, Theatre and Politics
“Moving Beyond the Box”: A Triumph Of Dance And Togetherness In An Era Of Isolation

23rd February 2022 | Education, Interview, Theatre and Dance, United States of America
No Longer Silent: How a Bosnian Theatre Festival Became a Focal Point for The MeToo Movement

22nd February 2022 | Bosnia, Festivals, Review, Theatre and Gender
“Alles Unter Kontrolle”

21st February 2022 | Germany, Review, Theatre and Politics
Alexandria’s Cultural Space “6 Bab Sharq” Opens New Chapter of Its Activities

20th February 2022 | Applied Theatre, Egypt, News
Artist Entrance: Moya Michael

19th February 2022 | Interview, South Africa, Theatre and Dance
A New Musical, “Panawathi Girl,” is a Fantasy of Australia’s Past — and a Critique of Australia’s Present

18th February 2022 | Australia, Review, Theatre and Politics
Sin Muros: Interview with Lupe Mendez

17th February 2022 | Festivals, Interview, United States of America
“Final Curtain Call:” Theatre, Home, and Determination

16th February 2022 | Interview, Theatre and Film, United States of America
Sin Muros: Interview with Playwright Adrienne Dawes

15th February 2022 | Festivals, Playwriting, United States of America
Exit interview: Dubravka Vrgoč

14th February 2022 | Croatia, Directing, Interview, Management
Nairobi Hosts Major Performing Arts Conference

13th February 2022 | Kenya, Management, News, Theatre and Decolonization
“This Mortal Life Also:” A Conversation with Playwright Nancy Shank

12th February 2022 | Interview, Playwriting, United States of America
A Celebration of Wondering: “The Hang” is a Party You Won’t Want to Miss

11th February 2022 | New York, Review, Theatre and Opera, United States of America
“I Thought I Could Read God’s Mind”: Katrin Arefy’s “The Portrait of An Angel, A Lion, A Monster”

10th February 2022 | Design, New York, Review, Theatre and Gender, United States of America
Samuel Beckett and Tadeusz Różewicz: Shared Themes and Motifs

9th February 2022 | Essay, Playwriting, Poland
Passing a Relighted Torch. “Angry, Raucous & Shamelessly Gorgeous”

8th February 2022 | Review, Theatre and Gender, United States of America
“Theatre of the Real”: How Artists at Perth Fringe World are Stripping Down to Reveal Their Vulnerabilities

7th February 2022 | Australia, Devised Theatre, Review
“We are a Nation of Jailers”: “Jurrungu Ngan-ga” is a Whirlwind of Bodily Resistance

6th February 2022 | Australia, Review, Sydney, Theatre and Politics
“The Museum of Modern Love” Reminds Us to Engage with Art – and Each Other

5th February 2022 | Australia, Review, Theatre and Art
How “Biryani Durbar” Explores the Politics of Food

4th February 2022 | Applied Theatre, India, Interview
Renowned Egyptian Costume Designer Naiema Agamy Dies on Monday

3rd February 2022 | Design, Egypt, News
“Peggy For You,” Hampstead Theatre

2nd February 2022 | Directing, London, Management, Review, United Kingdom
“The Glow,” Royal Court

1st February 2022 | London, Review, Theatre and Gender, United Kingdom

January

“The Magic Begins with the Clock Striking Midnight:” The History of the Nutcracker Ballet in Egypt

31st January 2022 | Egypt, News, Theatre and Dance
Decolonising Shakespeare: Setting Othello in Ghana and Pericles in Glasgow

30th January 2022 | Adaptation, Essay, Ghana, India, Theatre and Decolonization, Transcultural Collaborations, United Kingdom
“The 4th Country,” Park Theatre

29th January 2022 | Review, Theatre and Politics, United Kingdom
Kosova Theatre Showcase was on Stage for the 4th Time

28th January 2022 | Interview, Kosovo, Theatre and Politics
Surge Festival, A Reflection of Madrid’s Diverse Alternative Theater

27th January 2022 | Festivals, Review, Spain
Teaching Music Online in the Pandemic Has Yielded Creative Surprises, Like Mixing “Blob Opera” and Beatboxing

26th January 2022 | Canada, Education, Theatre and Opera
Four Times Shakespeare Has Inspired Stories About Robots and AI

25th January 2022 | Adaptation, Essay, Theatre and Science, United Kingdom
“Fires” This Time

24th January 2022 | Review, Theatre and Politics, United States of America
“Samson” Wins International Award

23rd January 2022 | Musical Theatre, News, South Africa, Theatre and Politics
“Cinderella” At the Masque: Review

22nd January 2022 | Adaptation, Musical Theatre, Review, South Africa
Artist Entrance: Kelly Copper

21st January 2022 | Interview, New York, Theatre and Politics, United States of America
Blurring Borders Between Performers and Audience in Kozhikode

20th January 2022 | India, News, Participatory Theatre
“Blood Knot,” A 60-Year-Old Message

19th January 2022 | Review, South Africa, Theatre and Politics
“Trouble In Mind,” National Theatre

18th January 2022 | London, Review, Theatre and Politics, United Kingdom
“The Red on the Rainbow,” A Brave and Important Play

17th January 2022 | Review, South Africa, Theatre and Politics
About “Fair Play”

16th January 2022 | London, Review, Theatre and Gender, United Kingdom
Saitama Gold Theater Players Take Their Final Bow After 15 Years

15th January 2022 | Applied Theatre, Japan, News, Theatre and Age
“Best of Enemies,” Young Vic

14th January 2022 | Playwriting, Review, Theatre and Politics, United Kingdom
Kennedy Center Dramaturgy Intensive 2021 Retrospective

13th January 2022 | Covid-19, Dramaturgy, Mexico, Review, United States of America
“As Soon As Impossible”: An Arab-American Comedy of Errors

12th January 2022 | Review, Theatre and Politics, United States of America
Nireeksha Women’s Theatre Group Develops Short Stories by Nine Women Writers as Radio Plays

11th January 2022 | Applied Theatre, India, News, Theatre and Gender
Here’s to the Ladies who Lunch: One of Sondheim’s Greatest Achievements was Writing Complex Women

10th January 2022 | Essay, Musical Theatre, Theatre and Gender, United States of America
What is Theatre of the Oppressed? Artiste and Activist Sanjoy Ganguly Explains

9th January 2022 | India, Interview, Theatre and Politics
How Enid Blyton Created the Template for Children’s Theatre in Britain

8th January 2022 | Essay, Theatre for Young Audiences, United Kingdom
Zadie Smith: How “The Wife of Willesden” Brings to Life Chaucer’s Tale of Sex and Power

7th January 2022 | Adaptation, Review, Theatre and Gender, United Kingdom
Hollywood Has Got Method Acting All Wrong, Here’s What the Process is Really About

6th January 2022 | Acting, Essay, United States of America
Hustling at the Bottom of the Stand-Up Pyramid

5th January 2022 | China, Interview, Theatre and Gender
Stephen Sondheim Showed Me the Beauty, Terror and Exquisite Pain of Being Alive

4th January 2022 | Musical Theatre, News, United States of America
Realities Blend Together in Arlekin Players’ “Witness”

3rd January 2022 | Boston, Review, Theatre and Art, Transmedia, United States of America
“Dance Like a Man” Keeps Time to Inherent Family Tunes

2nd January 2022 | India, Playwriting, Review, Theatre and Gender
“Metsi”: A Tapestry of Creativity

1st January 2022 | Review, South Africa, Theatre and Dance

December

About “Milk and Gall”

31st December 2021 | London, Review, Theatre and Gender, Theatre and Politics, United Kingdom
“You Will Never Walk Alone”: A Story of Resilience and Hope

30th December 2021 | Kenya, Participatory Theatre, Review, Theatre and Disability
“Old Bridge”, Bush Theatre

29th December 2021 | Review, Theatre and Politics, United Kingdom
In “Shaka Zulu: The Gaping Wound”, the Past is Present

28th December 2021 | Musical Theatre, Review, South Africa
Dante Meets Bharatanatyain This Experimental Theatre Performance at Ranga Shankara

27th December 2021 | Adaptation, India, Interview, Transcultural Collaborations
“Sessions”, Soho Theatre

26th December 2021 | Review, Theatre and Gender, United Kingdom
Generation XIII: A Documentary Podcast

25th December 2021 | Belgium, News, Transcultural Collaborations
Alaknanda Samarth Pushed the Limits of “Safe” Theatre

24th December 2021 | Acting, Applied Theatre, Essay, India
A Fight Against… (Una Lucha Contra…): Interview with Pablo Manzi and William Gregory

23rd December 2021 | Chile, Interview, London, Translation, United Kingdom
Artist Entrance: Florentina Holzinger

22nd December 2021 | Germany, Interview, Theatre and Dance
“Toolbox Manoeuvre”: The Beat of Hong Kong On Stage

21st December 2021 | Applied Theatre, China, Education, Hong Kong, Interview
“Trouble in Mind”, National Theatre

20th December 2021 | London, Review, Theatre and Politics, United Kingdom
“Sparky”: Engaging Theatre for Children and Young Adults

19th December 2021 | Review, South Africa, Theatre for Young Audiences
China Asks: How Many Cultural Landmarks Is Too Many?

18th December 2021 | China, Essay
Five of Stephen Sondheim’s Best Shows

17th December 2021 | Musical Theatre, News, United States of America
The Music of Words: The Metropolitan Opera’s “Eurydice”

16th December 2021 | New York, Review, Theatre and Opera, United States of America
(Not) Adapting to the French Stage: “Les Producteurs”, Directed by Alexis Michalik, at the Théâtre de Paris

15th December 2021 | Adaptation, France, Musical Theatre, Review, Translation
All You Need to Know About 28th Edition of Cairo Int’l Festival for Experimental Theatre

14th December 2021 | Egypt, Festivals, News
“Cabaret” at the Playhouse Theatre

13th December 2021 | London, Musical Theatre, Review, United Kingdom
“Krotoa Eva Van De Kaap”: Artscape

12th December 2021 | Acting, Review, South Africa, Transcultural Collaborations
“Bedside Manner” Review: Milnerton Players

11th December 2021 | Acting, Review, South Africa
Five Plays about Enslavement by Black British Women Playwrights

10th December 2021 | Playwriting, Review, United Kingdom
Theatre Audience Etiquette and Norms Have Always Shifted with the Times

9th December 2021 | Covid-19, Essay
New Opera “Yuzuru” Cautions Against the Dangers of Capitalism

8th December 2021 | Japan, Review, Theatre and Opera
“Sessions,” Soho Theatre

6th December 2021 | Review, Theatre and Gender, United Kingdom
“The Doctor” Diagnoses Society’s Afflictions

5th December 2021 | Interview, Japan, Transcultural Collaborations
Outside Theatre: Why It Mustn’t Stop After the Pandemic

4th December 2021 | Covid-19, Essay, United Kingdom
“Rare Earth Mettle,” Royal Court

3rd December 2021 | Review, Theatre and Politics, United Kingdom
Nonverbal “King Lear” Review – Conflict in Visuals, Sounds, and Imaginations

2nd December 2021 | Adaptation, China, Hong Kong, Review
Women in Science in Theater – Transforma Theatre Paves a New Crossroads with Stunning Insight

1st December 2021 | Review, Theatre and Science, United States of America

November

Rena Matsui Tackles Shakespeare in an All-Female “Julius Caesar”

30th November 2021 | Adaptation, Interview, Japan
“Cruel Games”—A Soviet Play in Post-Soviet Realities

29th November 2021 | Adaptation, Review, Russia
Stage Russia Expands Its Repertoire as It Continues to Offer Unprecedented Access to Contemporary Russian Theatre on a Big Screen

28th November 2021 | Interview, Russia, Transmedia
“By Heart”: Can One Poem Save the World?

27th November 2021 | New York, Review, Theatre and Politics, United States of America
RE: Encuentro: Interview with “Paletas de Coco” Playwright Franky D. Gonzalez

26th November 2021 | Festivals, Interview, Playwriting, United States of America
How I Met TheTheatreTimes.com

25th November 2021 | Canada, News
“Arbeit”: Theatre as Work, Work as Theatre

24th November 2021 | Croatia, Interview, Theatre and Dance
International Online Theatre Festival is The Second-Place Winner of the Culture Online International Award for “Best Online Project”

24th November 2021 | Latest, News
“The Blue Piano/The Blue Guitar”: Review

23rd November 2021 | Covid-19, Immersive Theatre, Review, South Africa
Whole New World: Indian-American Actors Proud in “Aladdin” Play

22nd November 2021 | Musical Theatre, New York, News, United States of America
“Balkan Bordello” at Teatri Oda

21st November 2021 | Adaptation, Kosovo, Review, Serbia, Transcultural Collaborations
A Manifesto for the Future Stage: Performance Is a Human Right

20th November 2021 | Essay, Transmedia
Re-Imagined Play Stirs Memories of “White Mischief” in Colonial Africa

19th November 2021 | Adaptation, Denmark, Kenya, Review, Theatre and Decolonization, Transcultural Collaborations
A New Staging of Enesco’s “OEdipe” at Paris Opera by Wajdi Mouawad

18th November 2021 | France, Review, Theatre and Opera, Transcultural Collaborations
Midwest Melancholy: “Girl From the North Country” at the Belasco Theatre

17th November 2021 | Musical Theatre, New York, Review, United States of America
The Normal Heart, National Theatre

16th November 2021 | London, Review, Theatre and Gender, United Kingdom
How China’s Musicals Lost Their Groove

15th November 2021 | China, Essay, Musical Theatre
Tony Awards Return: “Moulin Rouge!”, “The Inheritance” Win Big

15th November 2021 | New York, News, United States of America
“Where I Call Home”: Translating “Gens du pays”

14th November 2021 | Essay, London, Translation, United Kingdom
Tonino Taiuti and Beckett: a Homage in the Foyer of the Mercadante Theatre in Naples

13th November 2021 | Acting, Italy, Review
One Actor, One Audience Member: Innovations in the Time of COVID

12th November 2021 | Interview, Kenya, Management, Transcultural Collaborations, United States of America
“Lockup/Lockdown” with PDU: Review

11th November 2021 | Covid-19, Review, South Africa, Theatre and Politics
We Get There in the End: “Return to the Dirt” Pulls Back the Curtain on Life and Death in a Funeral Home

10th November 2021 | Australia, Playwriting, Review
“A Raisin in the Sun”: A Timeless Classic

9th November 2021 | Adaptation, Review, South Africa
The History of Golconda on Stage

8th November 2021 | India, News
COVID—Brevis, Ars—Longa

7th November 2021 | Adaptation, Covid-19, Review, Russia
TheTheatreTimes is Five Years Old!

6th November 2021 | Editorial, Transcultural Collaborations, Worldwide
On the 5th Anniversary of The Theatre Times

5th November 2021 | Kenya, News
Making History on the Madrid Stage

4th November 2021 | Essay, Spain, Theatre and Politics
Digital Play Dissecting Consumerism Culture, A Review of “Rich Kids: A History of Shopping Malls in Tehran”

3rd November 2021 | Iran, Review, Transmedia, United Kingdom
The Tragedy of Macbeth, Almeida Theatre

2nd November 2021 | Adaptation, Review, United Kingdom
Interview with Choreographer-Director Aguibou Bougobali Sanou

1st November 2021 | France, Interview, Theatre and Dance

October

A New Kind of Stage Photography – Or Should We Call It by Another Name?

31st October 2021 | Brazil, Essay, Transmedia
When The Fire Dragon Dances Under The Full Moon: Mid-Autumn Festival in Hong Kong

30th October 2021 | Applied Theatre, China, Hong Kong
“Viviani on the Road”: a Special Project of the Trianon Viviani Theatre in Naples.

29th October 2021 | Adaptation, Italy, Review
“The Tragedy of Macbeth” at the Almeida Theatre

28th October 2021 | Adaptation, London, Review, United Kingdom
Review: An Inconvenient Black History of British Musical Theatre (1900-1950)

27th October 2021 | Books, Musical Theatre, United Kingdom
“Snapped”: An Ode to Unresolved Grief

26th October 2021 | Review, South Africa, Theatre and Politics
Shahid Iqbal Khan’s “10 Nights” at the Bush Theatre: Moving Insight into Ritual and Belief

25th October 2021 | London, Playwriting, Review, Theatre and Religion, United Kingdom
“Tanz mit dem Tiger”: A Boundary-breaking Digital Hybrid Dance

24th October 2021 | Germany, Review, Transmedia
Theatre for One: A New Kind of Theatre Experience

23rd October 2021 | Kenya, Review, Transcultural Collaborations, United States of America
Sensation and Documentation: Jody Christopherson’s “Tussaud/Antoinette”

22nd October 2021 | Directing, New York, Review, United States of America
A Hyderabad Staging of Alan Ayckbourn’s Dark Comedy “Table Manners”

21st October 2021 | India, News
Fake News and Propaganda Machines: New Theatre Production Pulls “Animal Farm” into the Now

20th October 2021 | Adaptation, Australia, Review, Theatre and Politics
Sinking Ship Production’s “A Hunger Artist” in France

19th October 2021 | Festivals, France, News
Friday Essay: A World of Pain – Australian Theatre in Crisis

18th October 2021 | Australia, Covid-19, Theatre and Politics
Heaven Isn’t Too Far away; It’s in Downtown Houston at TUTS’ “Rock of Ages”

17th October 2021 | Musical Theatre, Review, United States of America
Towards Fairer Contractual Practices for Freelance Dramaturgs: A Conversation Facilitated by Catriona Craig

16th October 2021 | Dramaturgy, Interview, United Kingdom
A Lady with a Machine Gun

15th October 2021 | Belarus, Review, Theatre and Gender
From Pygmies to Puppets: What to Do with Roald Dahl’s Enslaved Oompa-Loompas in Modern Adaptations?

14th October 2021 | Adaptation, Australia, Essay, Theatre and Politics
Met Opera Returns with History-making Debut by Terence Blanchard

13th October 2021 | New York, Review, United States of America
Cameron Mackintosh’s All-Japanese “Oliver!” Will Have You Asking for More

12th October 2021 | Japan, Musical Theatre, News
“These Are Not My Shoes” is Powerful Social Commentary

11th October 2021 | Africa, Review, South Africa
A Play Inspired by Bharati’s Verses

11th October 2021 | Adaptation, India
In Photos: Large Variety of Performances in Inaugural Eazees Int’l Women’s Theatre Festival

11th October 2021 | Egypt, Festivals, News, Theatre and Gender
Hilary Mantel and Ben Miles’s The Mirror and the Light at the Gielgud Theatre: Engaging, but Rather Low Key

10th October 2021 | Adaptation, London, Playwriting, Review, United Kingdom
Tang Kwong-San’s Quest to Understand Hong Kong

9th October 2021 | Hong Kong, Review
Lance Weiler on the Future of Storytelling and the Film “The Last Broadcast”

8th October 2021 | Interview, New York, Theatre and Film, Transmedia, United States of America
Over 300 Applications Received to Perform in Sharm El-Sheikh Int’l Theatre Festival for Youth

7th October 2021 | Egypt, Festivals, News, Theatre for Young Audiences
A Memory Palace on Tauris: Reprise of Gluck’s Iphégenie en Tauride at the Paris Opera

6th October 2021 | Europe, France, Latest, Review, Theatre and Opera, Transcultural Collaborations
“3 Sopranos, 3 Tenors” to Perform in Aspendos Opera, Ballet Fest

5th October 2021 | Festivals, News, Theatre and Opera, Turkey
Kerala-based Rangachetana Theatre Group Initiates a Unique Project to Help Artists in Need

4th October 2021 | Covid-19, India, News
“The Last Trial” Musical: There Once Was a Wizard, a Servant of Night

3rd October 2021 | Musical Theatre, Review, Russia
Campania Teatro Festival 21: A Conversation with Ruggero Cappuccio at the Real Bosco di Capodimonte

2nd October 2021 | Festivals, Interview, Italy
“Text Me When You Arrive” is Witty, Punchy, and Hard-Hitting!

1st October 2021 | Review, South Africa, Theatre and Gender

September

Review: “UnTuned” (Golvareh)

30th September 2021 | Canada, Festivals, Iran, Review
“The Time of Our Singing” Opera Tackles Racial Segregation

29th September 2021 | Adaptation, Belgium, Review, Theatre and Opera
Family Drama Hits Close to Home for Keito Okamoto

28th September 2021 | Interview, Japan, Translation
Bess Wohl’s “Camp Siegfried” at the Old Vic: Powerfully Chilling and Resonant

27th September 2021 | Playwriting, Review, Theatre and Politics, United Kingdom
If You See a Dragon Coming, You Pull a Sword: Interview with Robert Wilson

26th September 2021 | Festivals, Hungary, Interview, Theatre and Politics
Ken Reynolds: 1938–2021. A Personal and Professional Remembrance of East European Theatre’s Finest Photographer

25th September 2021 | News, Russia, United Kingdom
A Festival that We Need: FOLDA – Festival of Live Digital Arts

24th September 2021 | Canada, Festivals, News
New Deal for Broadway: NYC Theater Luminaries Agree on Reforms

23rd September 2021 | New York, News, Theatre and Politics, United States of America
Kenya’s New Theatre Awards

22nd September 2021 | Festivals, Kenya, News
Fringe Theatre Reaches Global Scale with Digital Platform

21st September 2021 | Australia, Festivals, News
Divas Are Forever: Marina Abramović’s “7 Deaths of Maria Callas”

20th September 2021 | Festivals, France, Review, Theatre and Opera, Transmedia
Art Alert: Egyptian Silent Theatre Show “Halawes” to Premiere at Al-Hanager

20th September 2021 | Adaptation, Egypt, News
Playing with “White is Purity” in Pirandello’s “Comme tu me veux”

19th September 2021 | France, Review, Theatre and Art
Veteran Thespian Launches Collection of Original Plays

18th September 2021 | Kenya, News, Playwriting
Rockets and Blue Lights, National Theatre

17th September 2021 | London, Review, United Kingdom
Plays from Egypt, Oman and Spain Scoop Most Awards at 11th Theatre Without Fund Festival

16th September 2021 | Egypt, Festivals, News
In Photos: Yehia El-Fakharany’s New Play “Yama Fel Gerab Ya Hawy” to Stage in Cairo

15th September 2021 | Egypt, News
How Indonesian Young Creative Workers in Yogyakarta Stay Productive Amid the Pandemic

14th September 2021 | Covid-19, Essay, Indonesia
28th Aspendos Opera Ballet Fest to Start with Murat IV Opera

13th September 2021 | Covid-19, Festivals, News, Theatre and Dance, Theatre and Opera, Turkey
Yuri Ng Has Big Plans for Contemporary Dance in Hong Kong

12th September 2021 | Hong Kong, Interview, Theatre and Dance
The Barber of Seville

11th September 2021 | Featured, New York, Review, Theatre and Opera, United States of America
Excavations Begin to Unearth Theater at Turkey’s Ancient Savatra

10th September 2021 | News, Theatre and Politics, Turkey
Subira, A New Musical: Under-promised, Over-delivered!

9th September 2021 | Kenya, Musical Theatre, Review
“RashDash: Look at Me, Don’t Look at Me,” Paines Plough Roundabout

8th September 2021 | London, Review, United Kingdom
“An Odyssey” at Quantum Theatre, Pittsburgh, PA

7th September 2021 | Adaptation, Review, United States of America
“Don’s Party” at 50: An Achingly Real Portrayal of The Hapless Australian Middle-Class Voter

6th September 2021 | Australia, Essay, Theatre and Politics
“(It’s Been 76 Years and We’re) Still Waiting for Lefty” – Theatre Unleashed at Hollywood Fringe Festival

5th September 2021 | Los Angeles, Review, United States of America
“Every dollar is a soldier/With money you’re a dragon”: A Virtual Promenade between Two Migrant Fates

4th September 2021 | China, Festivals, Review, Transcultural Collaborations, Transmedia, United Kingdom
“Youth Everlasting and Life Without Death”: Performing Folk-tale and “Centriphery”

3rd September 2021 | Adaptation, Participatory Theatre, Puppetry, Review, Romania, Transcultural Collaborations
Andrei Kureichik’s “Insulted. Belarus”: One Year On

2nd September 2021 | Belarus, Review, Theatre and Politics
Cairo Int’l Festival for Experimental Theatre launches Theatre Festivals Network

2nd September 2021 | Egypt, Festivals
FIRE THEATRE Mime Company: On a Quest for Fire Drama

1st September 2021 | Between.Pomiędzy 2021, Bulgaria, Festivals, Interview, Poland

August

“The Princesses of Askies Shem Street” – Not a Story about Dirty Laundry Only!

31st August 2021 | Review, South Africa
“WET: A DACAmented Journey” – Powerful Virtual Theatre from The Center Theatre Group

30th August 2021 | Los Angeles, Review, United States of America
The Song Project, Royal Court

29th August 2021 | London, Musical Theatre, Review, United Kingdom
Interview with Ellen Pearlman about AIBO, an “Emotionally Intelligent” Artificial Intelligent Brainwave Opera. Part 2.

29th August 2021 | Estonia, Interview, Theatre and Opera, Theatre and Science
Be Gone! Or, Clear Away, Chop Chop: Dziady at 34/36 Mickiewicza Street in Warsaw

28th August 2021 | Poland, Review, Theatre and Politics, Theatre and Religion
“Chalk Lines” by Chalk Repertory Theatre – An Immersive, Virtual, Audio Play Tour

27th August 2021 | Los Angeles, Review, United States of America
Together We Go On: A 36 Hour Non-Stop Festival on 28th and 29th August

26th August 2021 | Festivals, News, Theatre for Young Audiences, Transcultural Collaborations
Interview with Ellen Pearlman about AIBO, an “Emotionally Intelligent” Artificial Intelligent Brainwave Opera. Part 1.

24th August 2021 | Estonia, Interview, Theatre and Opera, Theatre and Science
Stars from West End Stage Read “Broadway Baby,” Celebrating London Theatre Kids Week

24th August 2021 | London, News, Theatre for Young Audiences, United Kingdom
Beckett 2020

23rd August 2021 | Adaptation, Poland, Review, Transmedia
“Braids on Fire”: Anna Witt’s Video Installation and Performances in Naples

22nd August 2021 | Italy, Review, Theatre and Art
A Gathering of Absence: The Multimedia Performance of “Abandoned Shores / Negative Photographs”

21st August 2021 | Festivals, Review, Theatre and Film, Transmedia, Turkey, United Kingdom
“Chilahaeboalae” Showcases the Richness of African Folklore

20th August 2021 | Immersive Theatre, Review, South Africa
Cry Havoc Theater Company Lets Slip the Dogs of War

19th August 2021 | Devised Theatre, Interview, Theatre and Politics, United States of America
“Oleanna,” Arts Theatre

18th August 2021 | London, Review, Theatre and Gender, United Kingdom
Designing for Tuacahn Amphitheater (A Three Part Series): Part Three – An Interview With Lighting Designer Cory Pattak

17th August 2021 | Design, Interview, United States of America
Hyderabad Theatre Groups Gear Up for a Live Performance with Caution

16th August 2021 | India, News
Indian Puppets Perform to Mozart and Puccini Compositions

15th August 2021 | India, News, Puppetry, Theatre and Opera
Theatre as a Social Institution

14th August 2021 | Between.Pomiędzy 2021, Essay, Festivals, Poland
We Used Performing Arts to Map Out Gender Violence in Sierra Leone. What We Found

13th August 2021 | Essay, Sierra Leone, Theatre and Gender
Ola Rotimi: The Enduring Influence of a Nigerian Theatre Giant

12th August 2021 | Essay, Nigeria, Playwriting, Theatre and Politics
Interview with Ayham Majid Agha: On Shifting From Interactive Theater at Home into Creating a New Performing Form in Exile

11th August 2021 | Dramaturgy, Germany, Interview, Syria
“The Addams Family” Musical: To Know What’s Real

10th August 2021 | Musical Theatre, Review, Ukraine
Kalina Stefanova and Marvin Carlson in conversation on Directors from Eastern Europe. Part 3.

9th August 2021 | Between.Pomiędzy 2021, Festivals, Interview, Poland
Kalina Stefanova and Marvin Carlson in Conversation on Directors from Eastern Europe. Part 2.

8th August 2021 | Between.Pomiędzy 2021, Festivals, Interview, Poland
The Universal Immigrant: “Ellis Island” by James Clements and Doireann Mac Mahon

8th August 2021 | New York, Review, United States of America
Kalina Stefanova and Marvin Carlson in Conversation on Directors from Eastern Europe. Part 1.

7th August 2021 | Between.Pomiędzy 2021, Festivals, Interview, Poland
Italian Choreographer Roberto Castello on Dance, Politics and Dance as Labour

6th August 2021 | Interview, Italy, Theatre and Dance
Lucy McCormick’s “Life: LIVE!” at Battersea Arts Centre

5th August 2021 | London, Review, United Kingdom
“Divina invención” Love by Lope de Vega and by Sergio Blanco

4th August 2021 | Adaptation, Review, Spain
“Hamlet”: A Play That Speaks to Pandemics Past and Present

3rd August 2021 | Covid-19, Review, United Kingdom
Africa’s Oldest Dance Festival Evolves to Overcome the Pandemic

2nd August 2021 | Covid-19, Festivals, Interview, South Africa, Theatre and Dance
Beckett, Technology, and Experimentation: Report from the Between.Pomiedzy Festival 2021, Day 4

2nd August 2021 | Between.Pomiędzy 2021, Essay, Festivals, Poland, Transmedia
Designing for Tuacahn Amphitheater (A Three Part Series): Part Two – An Interview With Projection Designer Steven Royal

1st August 2021 | Design, Interview, United States of America

July

All the TikTok’s a Digital Stage

31st July 2021 | Covid-19, Essay, Transmedia, United States of America
Immersion and Spectator Self-Reckoning: “Boxing Shadows” at the Avignon Theatre Festival

30th July 2021 | Australia, Avignon 2021, France, Immersive Theatre, Review
Designing for Tuacahn Amphitheater (A Three Part Series): Part One – An Interview With Set Designer Adam Koch

29th July 2021 | Design, Interview, United States of America
Very Genki, Slightly Kitsch, Occasionally Compelling: The Olympic Opening Ceremony Put Humanity in Centre Frame

28th July 2021 | Japan, Review, Theatre and Politics
Art Scene: “Archive: This Was The End” Taps Extrasensory Senses

27th July 2021 | New York, Review, Theatre and Art, Transmedia, United States of America
After the Pandemic: the Music Day at the Conservatory “San Pietro a Majella” in Naples

26th July 2021 | Festivals, Italy, News
Obscured Truths Come to Light in Hideki Noda’s “Fakespeare”

25th July 2021 | Adaptation, Japan, Review
Malayalam Theatre Heads to Clubhouse for New Forms of Storytelling

24th July 2021 | India, News, Theatre and Politics, Transmedia
Digital Sci-fi Opera “Red Giant”: An Opera Of Our Times

23rd July 2021 | Review, Theatre and Opera, United States of America
Rabbits in the Circus of COVID Isolation: A Review of “White Rabbit Red Rabbit”

22nd July 2021 | Covid-19, Iran, Participatory Theatre, Review, United States of America
Transformative Imaginations #1: Breaking Toxic Patterns

21st July 2021 | Essay, Theatre and Dance, Theatre and Decolonization, Theatre and Politics
A Tight, Living Room Drama of a Family in Crisis, “Appropriate” Explores Truth-Telling and Dark Histories

20th July 2021 | Australia, Review, Sydney
Between Pandemic and Protest: The Rise of Performative Activism in Poland

19th July 2021 | Essay, Poland, Theatre and Politics
Building Bridges: Interweaving Beckett – Brazil and Poland

18th July 2021 | Adaptation, Between.Pomiędzy 2021, Brazil, Essay, Festivals, Poland
The Need to Recycle Forms the Core of this Korean Non-Verbal Play

17th July 2021 | Review, South Korea, Theatre for Young Audiences
Canada’s Theatre Community Must Nurture BIPOC Leadership to Improve Racial Equity

16th July 2021 | Canada, Essay, Theatre and Politics
Shakespeare’s Rulers and Generals Are All Flawed, but the Books on His Leadership Lessons Keep Coming

7th July 2021 | Australia, Books
“Bopha!” Arrests Audiences More Than Two Decades Later!

6th July 2021 | Acting, Review, South Africa
Guide to the Classics: Samuel Beckett’s “Waiting for Godot,” a Tragicomedy for Our Times

5th July 2021 | Essay, Ireland, Playwriting
The Need to Save the Oldest Sanskrit Theatre

4th July 2021 | India, News
9 New Names in Russian Ballet That You Should Know

3rd July 2021 | Russia, Theatre and Dance
K.S. Rajendran’s “Ghosts” Explores Human Relations

2nd July 2021 | India, Review, Translation
“Walden” at The Harold Pinter Theatre

1st July 2021 | London, Review, United Kingdom

June

About “Outside In”

30th June 2021 | London, Review, Theatre and Dance, United Kingdom
Ali Al-Zaidi: A Playwright Who Lives Through His Characters

28th June 2021 | Interview, Iraq, Playwriting
Can the World be Saved on Stage?

27th June 2021 | Between.Pomiędzy 2021, Festivals, Poland, Review, Theatre and Politics
From Daily to Beckett: Godot in Wuhan. Wang Chong and Peng Tao in Conversation with Tomasz Wiśniewski and Katarzyna Kręglewska. Part 2.

26th June 2021 | Between.Pomiędzy 2021, China, Covid-19, Interview
From Daily to Beckett: Godot in Wuhan. Wang Chong and Peng Tao in Conversation with Tomasz Wiśniewski and Katarzyna Kręglewska. Part 1.

26th June 2021 | Between.Pomiędzy 2021, China, Covid-19, Interview
The Happening “12” – The 12th Between.Pomiędzy Festival of Literature and Theatre, 2021

25th June 2021 | Between.Pomiędzy 2021, Poland, Review
About “Sweatbox” and “Blis-ta”

24th June 2021 | Review, United Kingdom
“Harm” at The Bush Theatre

23rd June 2021 | Review, United Kingdom
Vikrant Koul Journeys From Stage to The Digital Space

23rd June 2021 | India, Review
“The Brooklyn Job” Stole My Heart

22nd June 2021 | New York, Review, Theatre and Opera, United States of America
NEMPAC Opera Project’s “Juneteenth”: Opera in the Key of Freedom

21st June 2021 | Boston, Featured, Review, Theatre and Opera, United States of America
Guide to the Classics: Samuel Beckett’s “Waiting for Godot,” a Tragicomedy for Our Times

20th June 2021 | Adaptation, Essay, Ireland, Playwriting
Get Down: A New Way to Rise. Professionalizing Urban Dances, From Street to Stage.

19th June 2021 | Belgium, Essay, Theatre and Dance
Theatre in the Time of Protest: “Glass Menagerie” at the Théâtre de l’Odéon

18th June 2021 | France, Review, Theatre and Art, Theatre and Politics
On the Basis of Sustainability: Artemisia Theatre’s “Goods”

16th June 2021 | Chicago, Review, Theatre and Film, United States of America
Democratizing the Theatre-Making Process: “Six Characters in Search of An Author”

16th June 2021 | France, Review
Laughing in Darkness: Reading Różewicz Anew

15th June 2021 | Between.Pomiędzy 2021, Essay, Festivals, Playwriting, Poland
The Personal is Political: Theatre as Therapy in Madrid

14th June 2021 | Review, Spain, Theatre and Gender
About “The Elephant in the Room”

13th June 2021 | Review, Theatre and Dance, United Kingdom
After the Pandemic: Nicola Piovani and the Reopening of the Trianon Viviani Theatre in Naples

13th June 2021 | Covid-19, Italy, Review
Asian Adaptations of Shakespeare Today

12th June 2021 | Adaptation, Essay, Japan
“Najdziwniejszy Androgyn” (The Strangest Androgyne): Autism in Performance

11th June 2021 | Between.Pomiędzy 2021, Festivals, Poland, Review, Theatre and Disability
Between.Pomiędzy @ 12 — Ohio Impromptu @ 40 — Beckett @ 115

10th June 2021 | Between.Pomiędzy 2021, Essay, Festivals, Poland
“Let Them Do Yeats Next!:” “AURIC” At The Brighton Fringe

9th June 2021 | Adaptation, Festivals, France, Musical Theatre, Review, Spain, United Kingdom
Separate Yet Together: The Twelfth International Between.Pomiędzy Festival of Literature and Theatre

9th June 2021 | Between.Pomiędzy 2021, Festivals, Poland, Review
The Play “Demo” Recreates a Virtual Meet-up

8th June 2021 | India, Review, Transmedia
Performing Shakespeare in the Era of COVID-19

7th June 2021 | Canada, Essay, Transmedia
How a Polish Master, Krystian Lupa, Brought Lu Xun’s Madness to Life

6th June 2021 | Adaptation, China, Poland, Review
Two Productions of “The Plague” Push the Boundary of Theatre

5th June 2021 | Adaptation, China, Hong Kong, Review, Transmedia
The Body Tells the Story: Blessed Unrest’s “Touch”

4th June 2021 | New York, Review, Theatre and Dance, United States of America
Fadjr Theater Festival Stages Plays Despite COVID-19

4th June 2021 | Festivals, Iran, News
Carnatic Music Marries Theatre in The Madras Players’ “Trinity” – Set to Reach a Global Audience

3rd June 2021 | Adaptation, India, News
Artists’ Entry: Lia Rodrigues

2nd June 2021 | Brazil, Interview, Theatre and Dance, Theatre and Politics
“Tarantula” at the Southwark Playhouse

1st June 2021 | London, Review, United Kingdom

May

Battery Dance Festival+: Canadian Voices in Dance

31st May 2021 | Canada, Review, Theatre and Dance
“La realidad”, Or How to Build Fake News

29th May 2021 | Review, Spain, Theatre and Politics, Transmedia
Spotlight on “Pale Sister”: On Lighting in Digital Theatre

29th May 2021 | Ireland, Review, Theatre and Film, Transmedia, United Kingdom
Be Creative with Your Videoconferencing, Make it Memorable, Make a Difference

28th May 2021 | Covid-19, Essay, Transmedia, United Kingdom
“The Door You Never Saw Before: A Choosical Musical” at The Geffen

26th May 2021 | Los Angeles, Musical Theatre, Review, United States of America
“Lerumo”: A Cautionary Tale

25th May 2021 | Festivals, Review, South Africa
Waking Up in the Morning, Thinking About “This American Wife”

24th May 2021 | LGBTQ Theatre, Review, Transmedia, United States of America
Our Experiments: Democratizing The Creative Process

23rd May 2021 | Interview, Italy, Transmedia
Robbie McCauley, Groundbreaking Playwright and Performer Dies at 79

22nd May 2021 | Acting, News, Theatre and Disability, United States of America
Online Acting Classes? Here Are the Pros and Cons

22nd May 2021 | Acting, Canada, News
Experimenting with Virtual Theatre: An Interview with Igor Golyak

21st May 2021 | Adaptation, Boston, Interview, Transmedia, United States of America
XR | AR | VR: CultureHub on La MaMa’s Coffeehouse Aesthetic, Immersive Art, and Tech-Integrated Theatre

20th May 2021 | Interview, New York, Theatre and Art, Transmedia, United States of America
The Theatre Times Launches Third Edition of IOTF: International Online Theatre Festival

19th May 2021 | Festivals, News
About “Saving Britney”: Prologue

18th May 2021 | London, Review, Theatre and Gender, United Kingdom
A Play Adapted From Paul Zacharia’s “Ithanente Peru” Puts Nathuram Godse Under The Spotlight

17th May 2021 | Adaptation, India, Review
Immersive Opera “Laila” at the 50th Hong Kong Arts Festival

16th May 2021 | Hong Kong, Review, Theatre and Opera, Transmedia
The Women Making Waves in Theatre in Africa Part 2

15th May 2021 | Gambia, Kenya, Malawi, News, Nigeria, South Africa, Theatre and Gender, Tunisia, Uganda, Zimbabwe
“We Wish We’d Had This Show When We Were Kids”: Interview With “The Glitter Garden” Playwrights George Fowler and Lori Leigh

14th May 2021 | Interview, LGBTQ Theatre, New Zealand, Playwriting, Theatre and Gender, Theatre for Young Audiences
Australia’s Settler and First Nations Histories Meet in The Wild of The Bush in “Dogged”

13th May 2021 | Australia, Dramaturgy, Review
About “The Separation”

12th May 2021 | London, Review, Transmedia, United Kingdom
The Pandemic Made Their Women’s Suffrage Play Impossible. But the Show Went On — Virtually

12th May 2021 | News, Theatre and Politics, Transmedia, United States of America
A Conversation with Director Ashley Tata

11th May 2021 | Directing, Interview, New York, Transmedia, United States of America
“The Empire Builders:” A Bold Experiment in Alternative Theatre

10th May 2021 | Adaptation, Review, South Africa, Transmedia
Nyokabi Macharia: Marching to the Beat of Her Own Drum

9th May 2021 | Acting, Interview, Kenya
“Pass Over” – A Sobering and Unflinching Take on African-American Life in America

9th May 2021 | Review, South Africa, Theatre and Politics, United States of America
By Putting Tensions on Stage, Colleges Aim to Change Campus Culture

8th May 2021 | Covid-19, Education, News, United States of America
New Zealand Covid Response Dramatized in Moving Verbatim Play: “Transmission” by Stuart McKenzie

6th May 2021 | Documentary Theatre, New Zealand, Review, Theatre and Politics
Interview with Ramzi Choukair on Making the Detainees’ Stories Visible on the Stage

5th May 2021 | Interview, Syria
Unchartered Territory: Dancers in Isolation, the Eryc Taylor Dance Company

4th May 2021 | New York, Review, Theatre and Dance, United States of America
Adishakti Theatre Arts’ Latest Musical Turns the Lens on Sexual Assault and Power Politics at the Workplace

3rd May 2021 | India, Review
Theatre “Production Jam” Risks Creating a Lost Generation of Young Artists, European Directors Warn

2nd May 2021 | Europe, News
The Blurred Line Between Film and Theatre: An Experience of Simon Stone’s “Medea” at the Time of Pandemic

1st May 2021 | Australia, Essay, Theatre and Film

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