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
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, 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
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
(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
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, 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
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
“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, 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
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
For The Love Of Kunqu: Hong Kong Chinese Opera Festival 2018 31st July 2018 | Festivals, Hong Kong, News, Theatre and Opera
Searching For The Homeland: Gerish Khemani And Akshat Nigam’s Play Explores Memory, Loss, Exile, And Roots 31st July 2018 | India, News, Playwriting
“Allelujah!” Bridge Theatre: A Sharp Injection Of Cynicism From Alan Bennett 30th July 2018 | London, Review, United Kingdom
Ivo van Hove’s “The Damned” at Park Avenue Armory 28th July 2018 | Belgium, Review, Theatre and Politics, United States of America
A Century Of Queer Performance With Serena Grasso 28th July 2018 | Interview, LGBTQ Theatre, London, Playwriting, United Kingdom
Problems With Gender Equality In Australia’s Dance Industry 27th July 2018 | Australia, Essay, Theatre and Dance, Theatre and Gender
“Linger” Brings Dark Subject Matter Into The Light 27th July 2018 | New York, Review, United States of America
I Saw The Most Remarkable Production Of “Hamlet” I’ve Ever Seen And Did Not Understand A Word Of It 26th July 2018 | Review, Romania, Translation
Rory Mullarkey’s “Pity” At The Royal Court 26th July 2018 | London, Review, Theatre and Politics, United Kingdom
“Allelujah!” at The Bridge Theatre 25th July 2018 | London, Review, Theatre and Age, Theatre and Politics, United Kingdom
Subverting The Idea Of Nationalism 24th July 2018 | Festivals, India, Poland, Review, Theatre and Politics
Four Directors Give Four Reasons To Be Graeae 24th July 2018 | Books, Directing, Theatre and Disability, United Kingdom
“Me And My Girl,” Review: Matt Lucas’ Stand-In Provokes Frenzied Standing Ovation 24th July 2018 | Festivals, Musical Theatre, Review, United Kingdom
Hungarian Contemporary Circus Company Returns To The Biggest Arts Festival Of The World 23rd July 2018 | Festivals, Hungary, News
“Upstream Downtown” by Animacy Theatre Collective: The Story of Two Salmons 23rd July 2018 | Canada, Festivals, Review, Theatre and Gender, Theatre and Science
Contemporary Performing Arts in Portugal: Other Sources of Financial Support 22nd July 2018 | Essay, Portugal
Ken Cameron’s “Harvest”: A Funny And Perseverant Take On The Shocking And Unexpected 22nd July 2018 | Acting, Canada, Review
South African Women’s Arts Festival – 22 Years On 21st July 2018 | Festivals, News, South Africa, Theatre and Gender
Jen Silverman’s “The Roommate” Updates The Narrative For Middle-Aged Women 20th July 2018 | Chicago, Review, United States of America
Sally Cookson’s “A Monster Calls” At The Old Vic 20th July 2018 | Adaptation, London, Review, Theatre for Young Audiences, United Kingdom
Bernstein In Flight And T.S. Eliot In Motion At Bard Summerscape 2018: An Interview With Gideon Lester 19th July 2018 | Dramaturgy, Festivals, Interview, Musical Theatre, New York, Theatre and Dance, United States of America
Stefano Massini’s “The Lehman Trilogy” At The National Theatre 19th July 2018 | Italy, Kosovo, London, Review, United Kingdom
National Festival Of Egyptian Theatre Honors Playwright Mahmoud Diab, Features Sudanese Theatre, And Children’s Plays 19th July 2018 | Egypt, Festivals, News, Playwriting, Theatre for Young Audiences
Christine Rodriguez’s “The Autism Monologues”: Imperative Stories, But With Representation Issues 19th July 2018 | Canada, Festivals, Review, Theatre and Disability
For Better Or For Worse: The Pros And Cons Of Theatre Relationships 18th July 2018 | Acting, Essay, India
“Dreams In An Empty City”: A Strikingly Prescient Morality Tale About Banking 18th July 2018 | Australia, Essay, Playwriting
Karnad’s New Historical Play To Hit The Stands This Independence Day 17th July 2018 | Books, India, Playwriting
Nireeksha Women’s Theatre’s New Play Explores How Women Battle Fundamentalism and Violence 16th July 2018 | India, News, Theatre and Gender
Vicky Jones On Life After “Fleabag” And “The One”: “It’s Based On Something That Happened To Me” 16th July 2018 | Essay, London, Review, Theatre and Gender, United Kingdom
Simon Callow On Legendary Play Agent Peggy Ramsay 15th July 2018 | Books, Essay, Playwriting, United Kingdom
One Story, Two Languages: Sign And Spoken Language Share The Theatre Stage 15th July 2018 | Essay, New Zealand, Theatre and Disability
Polish Theatre at the Edinburgh Fringe 2018 14th July 2018 | Festivals, News, Poland, Polish Theatre Abroad
“One Small Step” At Ice Factory Festival 13th July 2018 | Festivals, New York, Review, United States of America
“Imperium” at The Gielgud Theatre 13th July 2018 | Adaptation, London, Review, Theatre and Politics, United Kingdom
Brecht Comes Home To Santa Monica With City Garage’s “Arturo Ui” 12th July 2018 | Los Angeles, Review, Translation, United States of America
“Genesis Inc” at The Hampstead Theatre 12th July 2018 | London, Review, Theatre and Gender, United Kingdom
Acting Legend Martha Henry Triumphs As Prospero At Stratford 11th July 2018 | Canada, Festivals, Review
Arab Arts Focus To Be Featured In Festival Off Avignon 11th July 2018 | Egypt, Festivals, France, News
Keiko Miyata To Mark Departure From The New National Theatre, Tokyo, With Piece By Up-And-Coming Playwright 11th July 2018 | Directing, Japan, News, Playwriting
Robert Lepage Finally Makes It To Stratford With An Astonishing “Coriolanus” 10th July 2018 | Canada, Directing, Review
Confronting The Past: Anjon Bose’s “Garbh” Focuses on Rural Distress and Disintegration 10th July 2018 | India, Review, Translation
Longread. Katie Mitchell On Chekhov, Stanislavsky, And Characters Of Flesh And Blood 9th July 2018 | Directing, Interview, Russia, United Kingdom
“Winter Solstice” At Cannes 9th July 2018 | France, Germany, Review, Theatre and Politics, Translation
Silence And Violence In “4’33” In Baghdad” (Montreal Fringe) 8th July 2018 | Canada, Festivals, Review
Jacek Sieradzki Announces The End Of The Contemporary Polish Plays Problem: The 2018 Awards For Staging Contemporary Polish Plays 8th July 2018 | Acting, Europe, News, Poland, Puppetry
The Playful Vitality Of Matter: “The Goldfish And The Inner Tube” Of Ruth Childs And Stéphane Vecchione 7th July 2018 | Review, Switzerland
Martin McDonagh’s “The Lieutenant Of Inishmore” At The Noël Coward Theatre 7th July 2018 | London, Northern Ireland, Review, Theatre and Politics, United Kingdom
“Carmen Jones”: A Classic Reborn 6th July 2018 | Musical Theatre, New York, Review, United States of America
Shopping, Coffee + A Spot Of Tragedy: Wasit Theatre Group Tackles The Toughest Topics On The Street of Iraq 6th July 2018 | Iraq, News, Theatre and Politics
How To Make Plays In Foreign Languages Available To All Or Is This A Pipe Dream? 5th July 2018 | Canada, Festivals, Review, Translation
Chekov Surfaces In The Okanagan In A Sterling Shaw Festival Premiere 5th July 2018 | Canada, Festivals, Review, Russian Theatre Abroad
Bolshoi Ballet Backstage: 10 Photos You’ve Never Seen Before 5th July 2018 | Russia, Russian Theatre Abroad, Theatre and Dance
The Cirque Du Soleil Redefines Its Space And Becomes Contemporary Theatre! 5th July 2018 | Canada, Review
From Poet To Protagonist: Shedding Light On Mayakovsky’s Unknown Career As A Movie Star 4th July 2018 | Acting, Essay, Russia
“This Is Step One” Is A Personal Plat For The #MeToo Era 3rd July 2018 | Canada, Festivals, Review, Theatre and Gender
Critics Have A Duty To Look Beyond Appearance And Judge Performance. Otherwise They’re Just Creepy. 3rd July 2018 | Essay, London, Theatre and Gender, United Kingdom
“Fourteen” By Split Theatre: Getting Schooled 3rd July 2018 | Review, Singapore, Theatre for Young Audiences
Brainteasing Play “25” Offers A Puzzling Meditation On Being 25 That You’ll Have To Think About 2nd July 2018 | Canada, Festivals, France, Review
“Hopefully We Can Collaborate Soon” – On Reciprocity Between Artists and Curators 2nd July 2018 | Essay, France, Theatre and Politics
“One For Sorrow” at The Royal Court 1st July 2018 | London, Review, Theatre and Politics, United Kingdom
World Premiere: “Lonesome Blues” 1st July 2018 | Musical Theatre, New York, Review, United States of America
Kamishibai: How The Magical Art Of Japanese Storytelling Is Being Revived And Promoting Bilingualism 1st July 2018 | Essay, Japan, Theatre and Art, Transcultural Collaborations
Curating LookOUT, The First Chinese Arts Festival On Gender: An Interview With Fabrizio Massini 30th June 2018 | China, Festivals, Interview, LGBTQ Theatre, Theatre and Gender
“Teenage Dick”: A Study Of The Stereotypical Villain 30th June 2018 | New York, Review, Theatre and Disability, United States of America
Baig’s “Acha Bacha” Shows That Sometimes Real Stories Don’t Have Happy Endings 30th June 2018 | Canada, Devised Theatre, LGBTQ Theatre, Review
“Sea Of Common Catastrophe” At Irondale Center 29th June 2018 | Devised Theatre, New York, Review, United States of America
“25” 1919 France: Pure Performance Cycle That Continues Through Eternity! 29th June 2018 | Canada, Devised Theatre, Festivals, France, Review
“A Dyke’s Guide To Fair Play” Offers A Queer Response To #MeToo (Montreal Fringe) 29th June 2018 | Canada, Festivals, LGBTQ Theatre, Review, Transmedia
Event Review: Ukrainian 1930s Avant-Garde Taking The Stage In London 27th June 2018 | Festivals, London, Review, Translation, Ukraine, United Kingdom
Characters In Search Of A Play 27th June 2018 | Adaptation, Books, India, Theatre for Young Audiences
“O’Flaherty V.C.” The Shaw Festival Stumbles With Its Namesake’s Satirical Take On The First World War 27th June 2018 | Canada, Festivals, Review
2018 Summer Festivals In France: Dance And Theater 26th June 2018 | Festivals, France, News, Theatre and Dance
Method And Message Of “12 Minute Madness” Are Clear, If Unfinished 26th June 2018 | Canada, Festivals, Review
Dr. Faustus Meets Cyberspace: The Past And The Future Collide In Perfect Harmony!! 26th June 2018 | Adaptation, Canada, Festivals, Review, Transmedia
Reasons To Be Graeae: A Unique Insight Into Disabled-Led Theater Company Graeae 25th June 2018 | Books, Theatre and Disability, United Kingdom
Josephine Baker: An Uplifting, Engaging, And Inspiring Performance 25th June 2018 | Canada, Festivals, Review
Contemporary Performing Arts In Ukraine. In Search Of A Lost Identity 24th June 2018 | Essay, Management, Ukraine
The Magical World Of Leonora Carrington 24th June 2018 | Adaptation, Mexico, Review, Theatre and Art, Theatre and Gender
Rogue Productions Bounces Back From Hurricane Harvey With “I Love You Because” 24th June 2018 | Musical Theatre, News, United States of America
Life, Death, Gravity, Sex, And String Theory In “The Mathematics Of Longing” 24th June 2018 | Australia, Review, Theatre and Science
“This Is Modern Art”: A Scatterplot 23rd June 2018 | Chicago, New York, Review, Theatre and Art, United States of America
“Heirloom Toys” Gives Fringe-Goers A Day Out At The Circus 23rd June 2018 | Canada, Festivals, Review, Theatre and Dance, Theatre for Young Audiences
New Musical “Pedro Pan” Speaks to the Plight of Immigrant Children 22nd June 2018 | Festivals, Musical Theatre, New York, News, Theatre for Young Audiences, United States of America
Make Rome Great Again. A Revival Of Duerrenmatt’s “Romulus The Great” In New York 22nd June 2018 | New York, Review, Theatre and Politics, Translation, United States of America
Metropolis Visits “Avenue Q” In Female-Led Production 22nd June 2018 | Chicago, LGBTQ Theatre, Musical Theatre, Review, United States of America
Through A New Zealander’s Eyes: The Subjunctive World, Notes From Venice Beach 21st June 2018 | Acting, Essay, New Zealand, United States of America
Review: “The Hysteria Triptych” Offers Three Hinged-Together Looks At “Unhinged” Women 21st June 2018 | Canada, Review, Theatre and Gender
Preview: OperaHub’s “DIVAS;” Calling Out The Opera Industry In A Love Letter To The Opera Art Form 21st June 2018 | Boston, Interview, Theatre and Opera, United States of America
“…Like Nobody’s Watching” Tackles Loneliness And A Bad Tom Hanks Obsession 20th June 2018 | Canada, Festivals, Review
Glasgow’s Easterhouse To Stage Ancient “Trojan Women” Play With War-Scarred Syrian Refugees 20th June 2018 | Festivals, Jordan, News, Scotland, Syria, Transcultural Collaborations
Review: “The Music Man” At The Stratford Festival 20th June 2018 | Canada, Festivals, Musical Theatre, Review
MAAT Kicks Off: Las Bernardas Contemporary Dance At Cairo’s Falaki Theatre 19th June 2018 | Egypt, News, Theatre and Dance
Review: “Long Day’s Journey Into Night” At The Stratford Festival 19th June 2018 | Canada, Festivals, Review
When The Cultural Cringe Abated: Australian Drama In The 1970s 19th June 2018 | Australia, Essay, Playwriting
The Glorious Anger Of “Leda And The Rage” 18th June 2018 | Review, Singapore, Theatre and Art, Theatre and Gender
Interview With Thierry Thieû Niang on Theatre for Children 18th June 2018 | France, Interview, Theatre for Young Audiences, United States of America
The Tiger And The Anus: How KFDA Decolonises Cosmopolitanism 18th June 2018 | Belgium, Brazil, Festivals, Review, Singapore
Performance As An Act Of Civil Disobedience. Forbidden To Forbid 17th June 2018 | Devised Theatre, Essay, France
“Lucid Dreams” A Beautiful, Whimsical Performance Full Of Warmth 17th June 2018 | Canada, Festivals, Review, Theatre for Young Audiences
The Power Of “La Pilarcita”: María Marull’s Opera Prima Celebrates Its Fourth Season In Buenos Aires 17th June 2018 | Argentina, Playwriting, Review
David Harrower’s “The Prime Of Miss Jean Brodie” At The Donmar Warehouse 17th June 2018 | Adaptation, London, Review, United Kingdom
“Deep Present” – Jisun Kim Stages Four Artificial Intelligences 16th June 2018 | Directing, Review, South Korea, Transmedia
Vanyamachine: Mallory Catlett’s “This Was The End” 15th June 2018 | New York, Review, Russian Theatre Abroad, Transmedia, United States of America
Afro-Latinx Theatre, Front And Center: An Interview With Guadalís Del Carmen 15th June 2018 | Festivals, Interview, Playwriting, United States of America
The 10 Best-Known Russian Plays And Where To See Them In Moscow And St. Petersburg 14th June 2018 | News, Russia, Russian Theatre - Featured
“Magic Mike Live” Is Coming To The UK–Here’s How To Get Tickets 14th June 2018 | Adaptation, London, News, United Kingdom
“The Strange Death Of John Doe” at The Hampstead Theatre 13th June 2018 | London, Review, Theatre and Politics, United Kingdom
Stratford’s “To Kill A Mockingbird” Unveils An Intriguing Atticus Finch 13th June 2018 | Adaptation, Canada, Festivals, Review
Elizabeth Strout: “Nobody Was Even Remotely Interested In My Writing” 13th June 2018 | Adaptation, Books, Interview, London, United Kingdom
“Fatherland” at The Lyric Hammersmith: Masculinity in Crisis 12th June 2018 | London, Review, Theatre and Gender, United Kingdom
When The Personal And Political Collide 12th June 2018 | India, LGBTQ Theatre, London, Review, United Kingdom
Open Letters To The Circus #3: Who Gets To Build The Future? 11th June 2018 | Belgium, Essay, Management
They Left Off Getting Carried Away: An Interview With Cássio Diniz Santiago And Till Wyler Von Ballmoos 10th June 2018 | Germany, Interview
Boston Lyric Opera’s “Trouble In Tahiti” 10th June 2018 | Boston, Review, Theatre and Opera, United States of America
Acclimatization: Feminist Iranian Theatre Acclimatizes To Diaspora 9th June 2018 | Canada, Iran, Playwriting, Review, Theatre and Gender
Modern Man’s Predicament: Nobel Laureate Gao Xingjian As A Tragic Playwright 8th June 2018 | China, Essay, Playwriting
Arlecchino Servitore Di Due Padroni: Seventy Years Of Strehler (And Counting) 8th June 2018 | Acting, Essay, Italy
“Lessons In Love And Violence” at The Royal Opera House 7th June 2018 | London, Review, Theatre and Opera, United Kingdom
“Miss Shakespeare”: A Bouquet Of Fine Performances 7th June 2018 | Canada, Musical Theatre, Review, Theatre and Gender
ATIA Guest Blog: Translating For Theatre As Performative Translation: Interview With Dr. Stefano Muneroni 7th June 2018 | Canada, Interview, Translation
“Jagged Little Pill” Finds A New Life 6th June 2018 | Boston, Musical Theatre, Review, United States of America
“On The Block” And “Glammuh” Series: One Play And One Visual Artist’s Impressions On The Life Of Black Youth In Contemporary Barbados-Part I 6th June 2018 | Barbados, Playwriting, Review, Theatre and Art
Review: “Innocence Lost: A Play About Steven Truscott” At Soulpepper Theatre Company 6th June 2018 | Canada, Review, Theatre and Politics
The Dramaturg Has To Be Seen And Heard: Carmen Kovacs And Jeffrey Döring 5th June 2018 | Dramaturgy, Germany, Interview, Theatre and Disability, Theatre and Opera
“Empire Of The Son”’s Fragmented Narrative Tells Story Of Intergenerational Divide And Male Vulnerability 5th June 2018 | Canada, Review, Transcultural Collaborations
Ballet For Everyone: A French Classic Updated For The 21st Century 4th June 2018 | France, Hong Kong, Review, Theatre and Dance
“The Girl On The Train” Onstage: “We Wanted It To Have The Pace Of A Train Out Of Control” 4th June 2018 | Adaptation, Interview, United Kingdom
Dark Glass Theatre’s “Ruined” Brilliantly Tells A Story Of Humanity Under Seige–But A Predominantly White Audience (Re)Watching Trauma Is Troubling 4th June 2018 | Canada, Review, Theatre and Gender, Theatre and Politics
All Love for “Black Boys’” Black On Black Love 3rd June 2018 | Canada, LGBTQ Theatre, Review, Theatre and Gender
“Uncle Vanya,” Anton Chekhov’s Play, On The London Stage 3rd June 2018 | Directing, Review, Russia, Russian Theatre Abroad
A Day In The Life Of The Royal Shakespeare Company’s Head Of Props–Featuring Swords, Fake Blood, And Stage Secrets 3rd June 2018 | Design, Interview, United Kingdom
When Playwriting Becomes Activism: An Interview With Nelson Diaz-Marcano 2nd June 2018 | Interview, New York, Playwriting, United States of America
Brian Friel’s “Translations” At The National Theatre: Four Stars 2nd June 2018 | Acting, London, Northern Ireland, Playwriting, Review, United Kingdom
“I Think I’m Dead”: A Captivating Autobiographical Performance Of Insomnia 1st June 2018 | Canada, Review
Mayfly Docus: “Die Tomorrow” And “14 Apples” At SIFA’s “Singular Screens” 1st June 2018 | Festivals, News, Singapore, Thailand
“Kurski Station” at the East Village Playhouse 31st May 2018 | New York, Review, United States of America
Hook And Eye Theater Presents: “SHE-SHE-SHE” 31st May 2018 | Devised Theatre, New York, Review, United States of America
The Immigrant Dragons–Part I: How Australia Is Saving A Hong Kong Tradition 31st May 2018 | Australia, Essay, Hong Kong, Transcultural Collaborations
Practiced Empathy and Awareness with Atlantic Pacific Theatre 30th May 2018 | Acting, Applied Theatre, New York, Philippines, Review, Transcultural Collaborations, United States of America
Lev Dodin Brings To Life Grossman’s “Life And Fate” Onstage At The TRH 30th May 2018 | Directing, Review, Russia, Russian Theatre Abroad
“Terrestrial,” A Tale Of Friendship, Loneliness, And Aliens In The Australian Desert 29th May 2018 | Australia, Directing, Review
Playwright Puts Gay Divorce In The Spotlight: Conversation with Ken Urban 29th May 2018 | Interview, LGBTQ Theatre, Playwriting, United States of America
Elizaveta Boyarskaya: Acting And Directing Is More Than A Job—It Is A Mission 29th May 2018 | Acting, Directing, Interview, Russia, Russian Theatre Abroad, Translation
Keishi Nagatsuka Navigates Cultural Differences In Bringing Play About Capital Punishment To Japan 29th May 2018 | Adaptation, Japan, News, Theatre and Politics, Translation
“Diversity Is Not A Policy, It’s Life.” Giles Terera On “Hamilton” And The Future Of Diversity In London Theater 28th May 2018 | Interview, London, Musical Theatre, United Kingdom
Women Of The World Write: “Global Female Voices” At The Arcola Theatre 27th May 2018 | Festivals, London, News, Producing, Theatre and Gender, Translation, United Kingdom
World Theatre Festival Shizuoka 2018–Listening To The Other To Rediscover Yourself 26th May 2018 | Festivals, Japan, Review
Adaptation, Participation, Risk-taking: Creative Interventions In Contemporary Performance 26th May 2018 | Adaptation, Brazil, Dramaturgy, Immersive Theatre, News, United Kingdom
Three Dancers Seek To Redefine The Contemporary Form Of Their Art In “Dan-su Series 3” 25th May 2018 | Japan, Review, Theatre and Art, Theatre and Dance
Sergey Kuryshev: This Means Figuring Out Our Life And Presenting It On The Basis Of The Classic Text 24th May 2018 | Acting, Interview, London, Russia, Russian Theatre Abroad, United Kingdom
South Africa’s Richest And Smoothest Jazz 24th May 2018 | New York, Review, South Africa, Theatre and Opera, United States of America
“Calderland–A People’s Opera” Celebrating Yorkshire Community’s Response To Floods Wins Top Award 23rd May 2018 | News, United Kingdom
Hooligan Communism: Why Did The Bolsheviks Ban Their Very First Propaganda Performance? 22nd May 2018 | Essay, Russia, Theatre and Politics
Theatre Kraken’s “Cry-Baby” Triumphs Over Its Material 21st May 2018 | Canada, Musical Theatre, Review
Following The #MeToo Movement In Korean Theatre 20th May 2018 | Interview, South Korea, Theatre and Gender, Theatre and Politics
Cross-cultural Encounters In World Theatre: Bertolt Brecht, The “Alienation” Effect And Chinese Drama 20th May 2018 | Acting, China, Essay
“Still Life With Chickens:” New Samoan Play Confronts Loneliness Through Comedy 20th May 2018 | New Zealand, Puppetry, Review, Theatre and Age, Transcultural Collaborations
Dreams And Reality: Fortune Theatre, Dunedin, New Zealand Closes 19th May 2018 | Management, New Zealand, News
Finding “Piramo E Tisbe” 19th May 2018 | New York, Review, Theatre and Opera, United States of America
Ten Pieces Of Advice For The Emerging Artist: The Beginning Of Intiman Theatre 19th May 2018 | Essay, Seattle, United States of America
A Cyclical Tragedy: Poetry, Humor, Theatre, And Neoliberalism In Argentina 18th May 2018 | Argentina, Review, Theatre and Politics
Romanian Theatre Today: The Postdramatic Emancipation Of The New Generation 18th May 2018 | Essay, Immersive Theatre, Romania
“Masterpieces” at The Finborough Theatre 18th May 2018 | London, Playwriting, Review, Theatre and Gender, United Kingdom
Birthing A Country: “Womb Of Fire” 17th May 2018 | Review, South Africa, Transcultural Collaborations
Ella Hickson’s “The Writer” at The Almeida Theatre 17th May 2018 | Acting, London, Review, Theatre and Gender, Theatre and Politics, United Kingdom
London’s Fatberg Is Getting Its Own Musical 16th May 2018 | London, Musical Theatre, News, Puppetry, United Kingdom
“Jack The Ripper” Opera Will Not Glorify Sexual Violence Against Women Says ENO 16th May 2018 | London, News, Theatre and Opera, United Kingdom
“Reasons To Be Graeae:” A Foreword From Mat Fraser 16th May 2018 | Theatre and Disability, United Kingdom
“Nine Night” at The National Theatre: The Play About Grief 16th May 2018 | Acting, London, Playwriting, Review, United Kingdom
“Five Easy Pieces”: Milo Rau’s Extraordinary Work About Child Murderer 15th May 2018 | Belgium, London, Review, Theatre and Age, Theatre and Politics, United Kingdom
“Assembled Identity”: World Premiere 15th May 2018 | Devised Theatre, New York, Review, Transmedia, United States of America
Stage Russia Launches App For Worldwide Streaming Of Russian Theatre 14th May 2018 | News, Russia, Russian Theatre Abroad
Bonnie Marranca: “It’s Up To Every New Generation To Create Its Own Institutions, Critical Discourses, And Working Methods.” 14th May 2018 | Interview, New York, Romania, United States of America
“Absolute Hell” at The National Theatre 14th May 2018 | Acting, LGBTQ Theatre, London, Playwriting, Review, Theatre and Politics, United Kingdom
How Immersive Theater Makes You Look At Yourself In A New Light 13th May 2018 | Immersive Theatre, Interview, Russia
“Still Point Turning” is a Vital Affirmation of Trans People Through the Story of Catherine McGregor 13th May 2018 | Australia, LGBTQ Theatre, Review, Theatre and Gender
“The Women Who Mapped The Stars”: The Struggle to be Acknowledged 13th May 2018 | Boston, Review, Theatre and Gender, Theatre and Science, United States of America
5 Theater Performances That Stole The Show in Russia – Now You Have The Chance to See Them! 12th May 2018 | News, Russia, Russian Theatre Abroad
Unpacking The Role Of Women In Ibsen’s “The Enemy Of The People” 12th May 2018 | Adaptation, Chicago, Dramaturgy, Interview, Theatre and Politics, Translation, United States of America
The Cambridge Chamber Ensemble’s “Cendrillon” Showcases Talent But Misses Its Mark 11th May 2018 | Boston, Review, Theatre and Opera, United States of America
Composer-in-Residence Clint Borzoni 11th May 2018 | Interview, LGBTQ Theatre, Theatre and Opera, United States of America
Angels (And Demons) Of History In EgoPo’s “Lydie Breeze” Trilogy 11th May 2018 | Philadelphia, Review, United States of America
The Problem Of The Unmarried Woman In “Old, New, Borrowed, Blue” 11th May 2018 | Boston, Review, Theatre and Opera, United States of America
“Summer: The Donna Summer Musical” – Setting The Record Straight 10th May 2018 | Musical Theatre, New York, Review, United States of America
Backstage Stories From The Mariinsky Theater Told By A Photographer 9th May 2018 | Interview, Russia, Theatre and Dance
Women Dancers In India and UK At A Glance 8th May 2018 | Essay, India, Theatre and Dance, Theatre and Gender, United Kingdom
Compelling Performance And Complex Metaphor In “King Arthur’s Night” Make For Remarkable Theatre (PuSh Festival) 8th May 2018 | Canada, Festivals, Review, Theatre and Disability
At Carnegie Hall, Tianqi Du Chases After Bach’s Goldberg Variations 8th May 2018 | New York, Review, Theatre and Opera, United States of America
Russian Opera Singer Sets 2 World Records In St. Petersburg 7th May 2018 | News, Russia, Theatre and Opera
The Body Labours Sonorously In Foxconn “Frequency (no. 3)” at The PuSh Festival 7th May 2018 | Festivals, Hong Kong, Review
Battle Cries For Liberation 6th May 2018 | India, Playwriting, Review, South Africa, Theatre and Gender
Psychological Spaces, #Metoo, And “The Crucible:” A Conversation With Set Designer Andrew R. Cohen 6th May 2018 | Design, Interview, United States of America
“SeagullMachine” – The Assembly Mixes Chekhov and Müller 5th May 2018 | Acting, New York, Review, United States of America
“Ameryka”- Critical Mass And Block Party 2018 5th May 2018 | Los Angeles, Playwriting, Poland, Polish Theatre Abroad, Review
Don’t Shoot The Messenger: Elfriede Jelinek’s “Rechnitz” In New York 4th May 2018 | New York, Review, United States of America
Edward Albee’s “Three Tall Women”: A Dissent 4th May 2018 | New York, Playwriting, Review, Theatre and Age, United States of America
Interview With Sergio Blanco: “A Creator Must Know The Times In Which He Lives” 3rd May 2018 | Interview, Playwriting, Spain, Transcultural Collaborations, Uruguay
Jacob Storms’ “Tennessee Rising”: Remembering Tennessee Williams 2nd May 2018 | New York, Playwriting, Review, United States of America
“Instructions For Correct Assembly” at The Royal Court: New British Sci-Fi Theatre 2nd May 2018 | London, Review, United Kingdom
“Possession:” Music And Movement Dominate Performance On Hermits, Deserts And Demons 1st May 2018 | Egypt, Festivals, Playwriting, Transcultural Collaborations
Bread of Life: Bread and Puppet Theater’s “The Basic Bye Bye Show” 1st May 2018 | Philadelphia, Review, United States of America
Arrows And Traps: A Charming Rendition Of Chekhov’s “Three Sisters” 30th April 2018 | London, Review, Russia, Russian Theatre - Featured, Russian Theatre Abroad
Ballets Russes: Who Made The Russian Ballet World-Famous? 30th April 2018 | Russia, Theatre and Dance
Macedonian Message For International Dance Day – By Ballet Dancer Marko Micov 29th April 2018 | Macedonia, Theatre and Dance
The Wooster Group’s “A Pink Chair” – Can You Ever Return? 29th April 2018 | Devised Theatre, New York, Polish Theatre Abroad, Review, United States of America
A Genre-Bending Pasifika Collaboration -“The Naked Samoans Do Magic” 29th April 2018 | Festivals, New Zealand, Review, Transcultural Collaborations
“Fun Home” By The Musical Stage Company As Part Of The Off Mirvish Series 29th April 2018 | Canada, LGBTQ Theatre, Review
World Theatre Festival Shizuoka 2018: Reaching Out To The World Through Theatre 28th April 2018 | Festivals, Japan, News, Transcultural Collaborations
Shizuoka Stage Festival Aims To Engage Its Audiences The Old-Fashioned Way 27th April 2018 | Festivals, Japan, News
“La Cerisaie”: Chekhov’s “Cherry Orchard” With New Secrets 26th April 2018 | Acting, Adaptation, Belgium, Review
The Role Theatre Can Play In The Emergence Of “Places Of Listening” 26th April 2018 | Essay, Portugal
Metaphor At Play: New Theatre from Belgium, Poland and United States 25th April 2018 | Belgium, Festivals, India, News, Poland, Polish Theatre Abroad, United States of America
D-CAF’s “Before The Revolution” Portrays All Roads To ‘Inevitable Eruption’ 25th April 2018 | Egypt, Festivals, News, Theatre and Politics
“Quiz” at Noël Coward Theatre: Towards Participatory Theatre 25th April 2018 | London, Review, United Kingdom
Jacob Storms And “Tennessee Rising” 24th April 2018 | Devised Theatre, Festivals, Interview, New York, United States of America
“Sal Capone: The Lamentable Tragedy Of…”: Docudrama Musical for Black Lives Matter 24th April 2018 | Canada, Musical Theatre, Review, Theatre and Politics
“Pressure” at The Park Theatre: New Play on D-Day 23rd April 2018 | Acting, London, Review, United Kingdom
Bearing Down On The Bechdel Test: Laurie Fyffee At The Ergo Arts Pink Festival! 23rd April 2018 | Canada, Festivals, News, Playwriting, Theatre and Gender
The Making and Breaking of a Tyrant: “Dhaad” New Play from India 23rd April 2018 | India, Review, Theatre and Gender
The Perks Of Bringing In New People In The Theatre Repertory 22nd April 2018 | Essay, India, Producing, Transcultural Collaborations
Bronze Statues And Memories: Returning Home In “The Musician And The Girl” 21st April 2018 | Review, South Korea
Experimentalism, Politics, And Utopia: Portuguese Theatre At The Beginning Of The 20th Century And On The Threshold Of The New Millennium 21st April 2018 | Essay, Portugal, Theatre and Politics
“Mr. Half Dwells…” Journeys Through the “Normal” City of Hong Kong in the Most Abnormal Theatrical Display 21st April 2018 | Design, Hong Kong, Review
Secret Cinema’s Most Recent Production: A Recreated World Of Ridley Scott’s Classic Film “Blade Runner: The Final Cut” 20th April 2018 | Immersive Theatre, London, Review, Transmedia, United Kingdom
Alexei Malobrodsky: The Strong Link 20th April 2018 | Essay, Russia, Russian Theatre - Featured, Theatre and Politics
“Ballyturk” Delivers A Surreal Yet Exciting Challenge 19th April 2018 | Interview, Ireland, Japan, Translation
Chinese Vagina Monologues And Beyond 19th April 2018 | China, London, Review, Theatre and Gender, United Kingdom
Reinventing Shakespeare In Chinese And Sinophone Theatres 18th April 2018 | China, Essay, Hong Kong, Taiwan
Thou Art Translated! How Shakespeare Went Viral 18th April 2018 | Adaptation, Essay, Translation, Worldwide
The Theatre Form, Yakshagana, Involves All-Night Plays As Offerings To A Deity 17th April 2018 | Festivals, India, News
“Plastic” at the Old Red Lion Theatre: On Teenage Love and Tragedy 17th April 2018 | London, Review, United Kingdom
Labour Politics In Audrey Dwyer’s “Calpurnia” Problematize Allyship 17th April 2018 | Canada, Review, Theatre and Politics
“Without Damage” Gets A Ground-Breaking Debut At Egypt’s D-CAF 17th April 2018 | Egypt, Immersive Theatre, Review, Theatre and Dance
King’s Head Theatre’s “Victim”: One-Woman Show About Life in Prison 16th April 2018 | London, Review, United Kingdom
Boheme and Beer: an Unconventional Production by Boston Opera Collaborative 15th April 2018 | Boston, Review, Theatre and Opera
“Dark Dunedin: Heaven Looks On” Excavating Layers Of The Real And The Imagined 14th April 2018 | Festivals, Immersive Theatre, New Zealand, Review, Transmedia
“Miss You Like Hell”: New York Premiere Musical 14th April 2018 | Musical Theatre, New York, Review, United States of America
Love, Death And Soviet Spies: Boston Playwrights’ Theatre Stages Its First Opera, “The Rosenbergs” 13th April 2018 | Boston, Denmark, News, Theatre and Opera, United States of America
Towards Cultural Access And Participation In Portugal 13th April 2018 | Essay, Portugal, Theatre and Disability
A Disturbingly, Yet Fascinating Vision Of A “What If” Scenario Of Human Test Subjects 13th April 2018 | Canada, Review
“Betroffenheit” Corporeal Exchange As Innovative Now As The Work Of Pina Bausch In The 1970’s 12th April 2018 | Canada, Review
What It’s Like To Be A Female Fight Director 12th April 2018 | Interview, Stage Combat, Theatre and Gender, United Kingdom
“Betroffenheit:” An Emotional Spectacle Which Transforms The Power Of Dance 11th April 2018 | Canada, Review, Theatre and Dance
Can Art Truly Thrive In Hyper-Commercial Hong Kong? 11th April 2018 | Essay, Hong Kong, Theatre and Art
Dramatic Soundscapes 10th April 2018 | Essay, Immersive Theatre, India, Musical Theatre, Theatre and Dance, Theatre and Disability
“Vincent River” at The Park Theatre: In-yer-Face Theatre at Its Cruel Best 10th April 2018 | LGBTQ Theatre, London, Review, United Kingdom
Inclusivity: Welcoming Autistic Folk Into The Theater 10th April 2018 | News, Theatre and Disability, United Kingdom
“Love Me Now” at The Tristan Bates Theatre: Love in the Time of Tinder 9th April 2018 | London, Review, Theatre and Gender, United Kingdom
“In And Of Itself”: Derek DelGaudio’s Gift Of Encounter 9th April 2018 | Immersive Theatre, New York, Review, United States of America
Li Cunxin, The Ballet Star Who Could Never Really Leave The Stage 8th April 2018 | Australia, China, News, Theatre and Dance
Socialist Morality in “The Threepenny Opera” 8th April 2018 | Boston, Review, Theatre and Opera, Theatre and Politics, United States of America
Myth, Motherhood, And Desperation in Modern Adaptation of Lorca’s “Yerma” 7th April 2018 | Adaptation, New York, Review, United States of America
Searching For Lost Artists In “A Song Of Dewdrops” 7th April 2018 | Musical Theatre, Review, South Korea
German Politicians Invest In Opera When Seeking Re-Election–Here’s Why 6th April 2018 | Essay, Germany, Theatre and Opera, Theatre and Politics
“The Delightful Journey Of Mr. Goldoni”: A National Premiere In Pavia 6th April 2018 | Festivals, Italy, News, Playwriting
The Politics of Child Abuse in Searing Māori Theatre: “Bless the Child” by Hone Kouka 5th April 2018 | New Zealand, Review, Theatre and Politics
The PUTIN Show: Kirill Serebrennikov And Russia’s Conservative Revolution 5th April 2018 | Essay, Russia, Russian Theatre - Featured, Theatre and Politics
World Premiere Musical: “The Lucky Ones” 4th April 2018 | Millennial Perspectives, Musical Theatre, New York, Review, United States of America
Force And Fragility Meet And Merge In “Dunas” 4th April 2018 | Belgium, Interview, Japan, Theatre and Dance, Transcultural Collaborations
“Oklahoma!” at 75: Has the Musical Withstood the Test of Time? 4th April 2018 | Essay, Musical Theatre, United States of America
Richard Eyre’s Production Of “Long Day’s Journey Into Night” Performed By Irons And Manville At Wyndham’s Theatre 3rd April 2018 | London, Review, United Kingdom
“The Great Wave” at The National Theatre: True Stories of Japanese People Abducted by the North Korean Regime 3rd April 2018 | London, Review, United Kingdom
A Day In The Life Of Liz Crossman: Costume Prop Maker And Milliner 2nd April 2018 | Design, United Kingdom
“Black Men Walking” at The Royal Court: Ordinary Folk Doing Ordinary Thing 1st April 2018 | London, Review, United Kingdom
The Greatest Play Ever Written: Translating “The Cherry Orchard” 31st March 2018 | Essay, London, Russian Theatre Abroad, Translation, United Kingdom
Meredith Monk’s “Cellular Songs” At Brooklyn Academy Of Music 31st March 2018 | New York, Review, United States of America
“All Those Unnatural Bonds:” Talking Sexuality, Shame, And Female Friendship With Hannah Moscovitch 30th March 2018 | Canada, Interview, Playwriting
“The Black Monk”: Dramatism And A Large Dose Of Slapstick 29th March 2018 | Adaptation, Kama Ginkas Black Monk, Review, Russia
Musical Futures: Japanese Vocaloid Opera Arrives In Spain 29th March 2018 | Japan, Spain, Theatre and Opera, Transmedia
“Kumar50”: The Star of the Singapore Drag Scene 29th March 2018 | LGBTQ Theatre, Review, Singapore, Theatre and Politics, Transcultural Collaborations
“In the Club”: Tackling Sexual Assault, Gender, and a Male Dominated Sports Culture 29th March 2018 | Australia, Review, Theatre and Gender
Cherry Play “Rule Of Thumb” Captures Challenges And Culture Brilliantly 28th March 2018 | Playwriting, Review, United States of America
“The Birthday Party”- A Classic That Never Grows Old 28th March 2018 | Acting, London, Review, United Kingdom
“Butcher of Balkans” in Jester’s Attire: A Musical About Slobodan Milosevic 28th March 2018 | Musical Theatre, Review, Serbia, Theatre and Politics
International Theater Institute – Macedonian Center 27th March 2018 | Macedonia, News, Theatre and Politics
The Spotlight on Poland: Diverse Voices and Perspectives on Contemporary Polish Theatre 27th March 2018 | Essay, Poland, Theatre and Politics
Ten Years Of The Divine Comedy Festival In Kraków 27th March 2018 | Divine Comedy Festival 2017, Essay, Festivals, Poland, Theatre and Politics
The Jewish Theatre In Warsaw: Tradition With A Modern Attitude 27th March 2018 | Directing, Essay, Poland, Theatre and Politics
Towards The Polski Theatre In The Underground 27th March 2018 | Acting, Applied Theatre, Essay, Poland, Producing, Theatre and Politics
Theatre Against Non-Human Reality: A Few Sentences About the Theatre of the Eighth Day 27th March 2018 | Acting, Essay, Poland, Polish Theatre and Gender, Theatre and Politics
Poland and The World of the Bad Change: The Theatre of the Eighth Day’s “And They Pitched a Tent Among Us” 27th March 2018 | Acting, Poland, Review, Theatre and Politics
Contemporary Poland in “Paragraph 196 (Exercises on Terror)” by the Theatre of the Eighth Day 27th March 2018 | Acting, Poland, Review, Theatre and Politics
“Humble Boy” at The Orange Tree Theatre: The Tragi-Comedy of Generational Conflict 26th March 2018 | London, Review, United Kingdom
New York Theatre Honored Magda Saleh In Celebration Of Egyptian Dance 26th March 2018 | Egypt, New York, News, Theatre and Dance, United States of America
How Does Poland Celebrate Its Independence Through Opera? 25th March 2018 | Essay, Poland, Theatre and Opera
“Anæsthesia Transopera” – Interactive Transmedia Opera 25th March 2018 | Dramaturgy, News, Poland, Theatre and Opera, Transmedia
“Post-Apocalypsis”: The Ecology of Performance 25th March 2018 | Essay, Poland, Theatre and Art, Theatre and Science, Transmedia
Humanities/Art/Technology Research Center: Combining Theatre, Art, and Engineering 25th March 2018 | News, Poland, Theatre and Art, Theatre and Science, Transmedia
“Goodbye, Mr. Yi Sang”: Seoul Performing Arts Company’s New Experiment 24th March 2018 | Adaptation, Immersive Theatre, Review, South Korea, Theatre and Dance
A Place To Be Seen: Global Queer Plays At The Arcola Theatre 24th March 2018 | Festivals, LGBTQ Theatre, London, News, Producing, Translation, United Kingdom
Divine Comedy Festival 2017 Review: “Cezary Goes To War” 24th March 2018 | Divine Comedy Festival 2017, LGBTQ Theatre, Poland, Review, Theatre and Politics
Disability And The Arts To Be Discussed Within D-CAF 23rd March 2018 | Egypt, Festivals, News, Theatre and Disability, United Kingdom
Why I Can’t Accept “Amy And The Orphans” 23rd March 2018 | New York, Review, Theatre and Disability, United States of America
Opera Forward Festival: Amsterdam, March 2018 23rd March 2018 | Festivals, Netherlands, Review, Theatre and Opera
“Lessons Learnt” By A Professional Translator–Adapting The Same Play Three Times Over Three Years 23rd March 2018 | Adaptation, Russia, Translation, United Kingdom
When It’s Written On Your Face: Teatr 21 And The Paradox Of Invisibility 23rd March 2018 | News, Poland, Theatre and Disability, Theatre and Politics
Dairakudakan’s “Unearthly” Butoh Meets A Tortured Russian tale 22nd March 2018 | Adaptation, Japan, News, Theatre and Dance
American Actors Give New Voice To French Theater 22nd March 2018 | Adaptation, France, News, Theatre and Art, Translation
“Buggy Baby” at The Yard Theatre: How Can You Represent Trauma in The Theatre? 22nd March 2018 | London, Review, United Kingdom
Gore Vidal’s “The Best Man” at The Playhouse Theatre: Is It Possible to Get Too Much of American Politics? 21st March 2018 | London, Review, Theatre and Politics, United Kingdom
“How Black Mother’s Say I Love You” Dissects Mother-Daughter Relationship 21st March 2018 | Canada, Review
Legendary Russian Actor Oleg Tabakov Has Died. Why Was This Actor Loved by Everyone in Russia? 21st March 2018 | Acting, News, Russia
“Jubilee” at The Lyric Hammersmith: Adapting Punk Classic 20th March 2018 | Adaptation, London, Musical Theatre, Review, United Kingdom
“The Second Woman”: A 24-Hour Lesson in the Gendered Performance of Intimacy 20th March 2018 | Australia, Review, Theatre and Gender
From the Space-Race to Filial Tensions, Robert Lepage’s “The Far Side of the Moon” Explores Reconciliation 20th March 2018 | Canada, Review, Theatre and Politics
Cinema And Smart Phones: The Art Of Increasing Audiences For Opera, Ballet, And, Theatre 19th March 2018 | News, United Kingdom
“Memorial” Is A Shattering Excavation Of The Scars Of War Through Poetry, Dance, And Mind Blowing Score 19th March 2018 | Adaptation, Australia, Festivals, Review
A Conversation With Gia Forakis, Theatre And Opera Director 18th March 2018 | Directing, Interview, New York, United States of America
Discussion On The Greatest Theatrical Scandal Of 2017: “Klątwa” At The Powszechny Theatre In Warsaw 18th March 2018 | Adaptation, Croatia, Directing, Dramaturgy, Interview, Poland, Theatre and Politics
Between Panoramas And VR: What Does It Mean To Be Immersed? 17th March 2018 | Germany, Immersive Theatre, Interview, Transmedia
“The Actor’s Life for Me:” A Conversation With David Greenspan 17th March 2018 | Acting, Interview, Playwriting, United States of America
How Can We Transform The World Through One’s Self? Amsterdam’s Butoh Festival 16th March 2018 | Festivals, Netherlands, News, Theatre and Dance, Transcultural Collaborations
Jess Thom On Touretteshero’s Production Of Beckett’s “Not I”: Mouth as a Disabled Character 16th March 2018 | Interview, Theatre and Disability, United Kingdom
Cricoteka: A Centre Of New Life For Tadeusz Kantor’s Art 15th March 2018 | News, Poland, Theatre and Art
“The White Card”: An Attempt To Communicate 15th March 2018 | Boston, Review, United States of America
Interview With The Art Director Of MICET Interactive Theatre Museum In Kraków 15th March 2018 | Dramaturgy, Interview, Poland, Theatre for Young Audiences
Dunedin’s Arcade Theatre Company And “Fold:” An Absurdist Production For A Post-Truth Era 15th March 2018 | New Zealand, Review, Theatre and Politics
Theatre Series “Tale Of The Century”: How Do You Trace The History of the Nation? 14th March 2018 | Estonia, Festivals, News
Going Places Interview With Lauren Clancy, The New Executive Director of The Bush Theatre 14th March 2018 | Interview, London, Management, United Kingdom
Still Unsettling: The Continuing Power of Larry Kramer’s “The Normal Heart” 14th March 2018 | Canada, LGBTQ Theatre, Review, United States of America
Contemporary “Electra” by DumbWise at The Bunker Theatre 13th March 2018 | Adaptation, London, Playwriting, Review, United Kingdom
“Amy And The Orphans”: Down Syndrome Psychodrama? 13th March 2018 | New York, Review, Theatre and Disability, United States of America
I Wanted To Remove The Language Of Gender: Hindi Adaptation of Lorca’s “Yerma” 13th March 2018 | Adaptation, India, Interview, LGBTQ Theatre, Theatre and Gender
