Mukha Mugam Returns to the Stage with “The View From Above,” A Macbeth-Inspired Political Satire 30th June 2022 | India, Playwriting, Review, Theatre and Politics
“Anything & Everything” Gives Us a Glance Into the Lives Teenagers are Constructing Online 29th June 2022 | Australia, Review, Theatre for Young Audiences, Transmedia
“Shadow Boxing” at Baxter Masambe Theatre 28th June 2022 | Acting, LGBTQ Theatre, Review, South Africa
“Borderland, maldita cabeza,” Mental Health Debate Enters into the Limits of a New Opera 27th June 2022 | Design, Review, Spain, Theatre and Gender, Theatre and Opera
A New Translation of Molière’s “Dom Juan” for the 21st Century 26th June 2022 | Interview, New York, Translation, United States of America
With Nine Broadway Musicals Currently on Australian Stages, Musical Theatre is Thriving Again 23rd June 2022 | Australia, Musical Theatre, News
“Lotus Beauty,” Hampstead Theatre 22nd June 2022 | London, Playwriting, Review, Theatre and Gender, United Kingdom
From a Position of Perspectives: An Interview with Patrice Pavis 21st June 2022 | Dramaturgy, France, Interview, Theatre and Politics, United Kingdom
Chennai Theatre Veteran PC Ramakrishna Turns Author with “Find Your Voice” 20th June 2022 | Acting, Books, India, News
With the Hope to Make Telugu Theater a Sustainable Career Option 19th June 2022 | Acting, Devised Theatre, Essay, India
“House of Ife,” Bush Theatre 18th June 2022 | Dramaturgy, London, Playwriting, Review, Theatre and Decolonization, United Kingdom
The Meaning of Theater: Slava Stepnov’s “Flawed Choir” at the Steps Theatre 17th June 2022 | Dramaturgy, New York, Playwriting, Review, United States of America
When City Streets Record Fading Performance Traditions 16th June 2022 | Applied Theatre, Essay, India, Theatre and Decolonization
Black Second-Act Problems: “Black No More” by The New Group 15th June 2022 | Musical Theatre, Review, Theatre and Decolonization, United States of America
“The Haunting of Susan A” at The King’s Head Theatre 14th June 2022 | Playwriting, Review, United Kingdom
Director Maria Mileaf and Actor Aline Salloum on Oren Safdie’s High School Crush Gone Sideways, “Gratitude” 13th June 2022 | Acting, Directing, Interview, New York, United States of America
The Beast is Back: Radiotheatre’s Live Audio Play “King Kong” 12th June 2022 | Adaptation, Review, Transmedia, United States of America
Frenemies and Freedom: “Confederates,” Signature Theatre 11th June 2022 | Review, Theatre and Decolonization, Theatre and Gender, United States of America
Gilbert Gottfried and the Mechanics of Crafting One of the Most Memorable Voices of All Time 10th June 2022 | Acting, Essay, Transmedia, United States of America
“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance) – PART II 9th June 2022 | Belgium, Dramaturgy, Education, Essay
“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance) – PART I 8th June 2022 | Belgium, Dramaturgy, Education, Essay
Fresh “Ham” at the Public 7th June 2022 | Adaptation, Review, Theatre and Decolonization, United States of America
Mohamed Sobhy’s “Nogoum El-Dohr” Continues Successful Run 6th June 2022 | Devised Theatre, Directing, Egypt, News
From the Moscow Stage to Monroe and De Niro: How the Method Defined 20th-Century Acting 5th June 2022 | Acting, Books, Essay, United States of America
“Sky of Darkness” Comes to NYC: A Chinese Reimagination of “Heart of Darkness” in Our Neocolonial World 4th June 2022 | Adaptation, China, New York, News, Theatre and Decolonization, United States of America
Liverpool Arab Arts Festival Returns to In-Person Format 3rd June 2022 | Festivals, News, Theatre and Decolonization, United Kingdom
Missing Mason Jars —”Take Me Out,” Second Stage 2nd June 2022 | LGBTQ Theatre, Playwriting, Review, United States of America
“Legend of The Waitress & The Robber” – A Korean American Cross Cultural Collaboration Makes it to New York City 1st June 2022 | Musical Theatre, New York, Review, South Korea, Theatre and Politics, United States of America
Mikhoels by Freud: “The Singing Windmills” by Roman Freud and the PM Theater Company 31st May 2022 | Directing, News, Playwriting, Russia, United States of America
South Australia’s Limestone Coast Was Formed from the Bones of Dead Fish. “Cathedral” Brings the Story of These Caves to the Stage 30th May 2022 | Australia, Design, Review, Theatre and Science
Learning Curve—”How I Learned to Drive,” Manhattan Theatre Club 29th May 2022 | Review, Theatre and Gender, United States of America
EPIC Players Creates Employment and Training Opportunities for Autistic & Neurodivergent Theatre Makers 28th 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 27th May 2022 | Australia, Review, Theatre and Decolonization, Theatre and Gender
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
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
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
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
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
“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 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
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
Medical Science and the Irony of Sex Education 10th March 2022 | India, Review, Theatre and Gender, Theatre and Science
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
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
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
Alexandria’s Cultural Space “6 Bab Sharq” Opens New Chapter of Its Activities 20th February 2022 | Applied Theatre, Egypt, News
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
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 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
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
“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
“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
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
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
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
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
“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
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
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
“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
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
Rena Matsui Tackles Shakespeare in an All-Female “Julius Caesar” 30th November 2021 | Adaptation, Interview, Japan
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
“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
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
TheTheatreTimes is Five Years Old! 6th November 2021 | Editorial, Transcultural Collaborations, Worldwide
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
Interview with Choreographer-Director Aguibou Bougobali Sanou 1st November 2021 | France, Interview, Theatre and Dance
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
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
Fake News and Propaganda Machines: New Theatre Production Pulls “Animal Farm” into the Now 20th October 2021 | Adaptation, Australia, Review, Theatre and Politics
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
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
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
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
“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
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
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
“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
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
“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
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
Indian Puppets Perform to Mozart and Puccini Compositions 15th August 2021 | India, News, Puppetry, Theatre and Opera
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
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
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
Guide to the Classics: Samuel Beckett’s “Waiting for Godot,” a Tragicomedy for Our Times 5th July 2021 | Essay, Ireland, Playwriting