April

“Shards of Chaotic Memory in Multicoloured Ink”

16th April 2025 | Italy, Review, Theatre and Disability
Julia Grogan’s Playfight at the Soho Theatre: Superbly Punchy Teen Drama That Electrifies The Senses And Engages The Emotions

15th April 2025 | LGBTQ+ Theatre, Review, United Kingdom
Robert Icke’s Manhunt at the Royal Court Theatre: Terrifyingly Powerful Account Of Toxic Masculinity And Murderous Rage

11th April 2025 | Documentary Theatre, Dramaturgy, Review, United Kingdom
“Liberation.” Roundabout Theatre. Look Back to Know Where You Are

7th April 2025 | Review, Theatre and Gender, United States of America
Self-Ish Dramaturgy: Personal Practice At The Kennedy Center College Theatre Festival

6th April 2025 | Dramaturgy, Essay, Festivals
Violence Is Not Fate. Change Is Possible

3rd April 2025 | Playwriting, Theatre and Gender, Turkey
The Beauty of Cultural Specificity in “Bubble Schmeisis”

2nd April 2025 | New York, Review, Theatre and Religion
I Am Not Afraid For The Future Of The Theatre

2nd April 2025 | Croatia, Interview, Transcultural Collaborations, Translation

March

Chris Fung’s “The Society for New Cuisine” at Omnibus Theatre: Exceptionally Powerful Monologue About Grief And Mental Torment

28th March 2025 | Acting, London, Review, United Kingdom
The Rebellious Power of “Liberation” at Roundabout Theatre Company

27th March 2025 | New York, Review, Theatre and Gender
Theatre “Haunts” People

26th March 2025 | Festivals, Interview, Playwriting, Romania
Nikoletta Soumelidis’s Spent at the Old Red Lion Theatre: Intriguing And Suggestive Exploration Of Gender Roles

21st March 2025 | London, Playwriting, Review, United Kingdom
Getting To an Emotional Truth With Padraic Lillis

19th March 2025 | Dramaturgy, Interview, Producing, United States of America
Brave New Theatrical World or One Flew Over the 21st Century’s Cuckoo’s Nest?: “Nexxt”

18th March 2025 | Directing, Review, Serbia
“The Pillars of the Earth”: The Evolution of Spanish Musical Theatre. An exclusive interview with Iván Macías. Part I

12th March 2025 | Interview, Musical Theatre, Spain
An Innovative “Romeo E Giulietta” In Milan

10th March 2025 | Directing, Italy, Review
Woman Is A Changeling: Redefining Femininity In “Maiden Mother Crone”

8th March 2025 | Review, Theatre and Gender, United States of America
Nick Payne’s One Day When We Were Young at Park Theatre: Time-Hopping Love Story Is Restrained By The Slenderness of the Plot

5th March 2025 | Acting, Playwriting, Review, United Kingdom
Victor’s Journey

5th March 2025 | Italy, Review, Theatre and Science
The Showcase Is To Feed From Academic Research And Knowledge, But It Is Hands-On Job Rather Than Dry Research

4th March 2025 | Interview, Theatre and Politics, Turkey
2024 Dublin Theatre Festival – Subjective Report [Part II]

4th March 2025 | Acting, Festivals, Ireland
2024 Dublin Theatre Festival – Subjective Report [Part I]

4th March 2025 | Acting, Festivals, Ireland
Bridging Worlds: Bahram Beyzaie’s “Naqqali Trilogy” Wins The 2024 ASTR Translation Award Prize

3rd March 2025 | Books, Iran, Playwriting, Translation
Review Of “Bernarda Albas Haus,” Deutsches Schauspielhaus Hamburg, Première 2 November 2024.

3rd March 2025 | Germany, Review, Theatre and Gender
Giuliana Musso Performs Franz Kafka’s “The Ape”

2nd March 2025 | Italy, Review, Theatre and Politics

February

Coral Wylie’s Lavender, Hyacinth, Violet, Yew at the Bush Theatre: Tender And Original Debut About The Black Queer Experience

26th February 2025 | London, Playwriting, Review, Theatre and Decolonization, United Kingdom
Laura Horton’s Lynn Faces at the New Diorama Theatre: Surreal Gig Theatre Event Explores Coercive Control Through Comedy

21st February 2025 | Playwriting, Review, Theatre and Gender, United Kingdom
Beyond the Canvas: The Art of Candida Alvarez

21st February 2025 | New York, Transmedia, United States of America
Polish-American Migrant Theatre: Teatr NASZ From Chicago On Tour In Florida

18th February 2025 | Poland, Transcultural Collaborations, United States of America
Language Is Leaving Me: A Cinematic AI Opera Of The Skin [Part II]

17th February 2025 | Interview, Theatre and Science, United States of America
“Language Is Leaving Me: A Cinematic AI Opera Of The Skin” [Part I]

16th February 2025 | Interview, Theatre and Science, United States of America
Playwriting Awards in Taiwan: Recognition and Reality

14th February 2025 | Essay, News, Playwriting, Taiwan
Show/Boat: A River Slashes Open an Old Classic

13th February 2025 | Musical Theatre, New York, Review
The Horror of Mundanity in NYTW’s A Knock On the Roof

13th February 2025 | New York, Review, Theatre and Politics
Dropping Balms

13th February 2025 | Review, Theatre and Politics, United States of America
Culture Belongs To Humanity! Not To The Armies

12th February 2025 | Greece, Interview, Theatre and Politics
Eline Arbo’s The Years At The Harold Pinter Theatre: Nobel Prize Winner Annie Ernaux’s Book Gets A Problematic West-End Staging

10th February 2025 | Adaptation, London, Review, United Kingdom
Getting Known

10th February 2025 | Directing, Review, United States of America
Тim Rice – 80: The Нero and His Many Anniversaries. Part II

7th February 2025 | Dramaturgy, Interview, Musical Theatre, United States of America
From Lawyer to Lyricist/Librettist: An Artist Profile of Jill Ohayon

7th February 2025 | China, Directing, Musical Theatre, United States of America, Worldwide
A Dystopian Sci-Fi: “Honey, I’m Home”

6th February 2025 | Canada, Review, Theatre and Science
There Is Nothing To Know About The Theatre, There Is Everything To Discover About Theatre

5th February 2025 | Playwriting, Slovenia, Theatre and Gender
Lucy Kirkwood’s “The Welkin” (“Empireo”) In Milan

4th February 2025 | Italy, Review, Theatre and Gender
A Canadian Epic: “Come From Away”

4th February 2025 | Canada, Review, Transcultural Collaborations, United States of America
Rameau reinvented: Peter Sellars stages “Castor et Pollux” at the Opéra National de Paris

3rd February 2025 | France, Review, Theatre and Opera
V4 Improv Connect: Empowering Cross-Border Collaboration And Growth (Project And Network) [Part II]

2nd February 2025 | Acting, Interview, Transcultural Collaborations
V4 Improv Connect: Empowering Cross-Border Collaboration And Growth (Project And Network) [Part I]

2nd February 2025 | Acting, Interview, Transcultural Collaborations

January

Europe As a Beautiful Mess: An Interview with Heidi Wiley, Executive Director of ETC

26th January 2025 | Interview, Producing, Theatre and Politics
The Visit

24th January 2025 | Immersive Theatre, Italy, Review
Philip Ridley’s Tarantula at the Arcola Theatre: Blazingly Emotive And Beautifully Poetic Account Of Trauma From A Master Penman

22nd January 2025 | Covid-19, London, Playwriting, Review, United Kingdom
Disability, Kink, and Joy as Resistance in The Dan Daw Show

22nd January 2025 | New York, Review, Theatre and Disability
Roy Williams’s The Lonely Londoners at the Kiln Theatre: Superb Stage Adaptation Of The Classic Sam Selvon Windrush Novel

20th January 2025 | Adaptation, London, Review, Theatre and Decolonization, United Kingdom
Sitting Down with Theater Artist Kate Rankine

17th January 2025 | Interview, Musical Theatre, New York
A Feline Farewell: “MEOW!” Excavates Americana at Exponential Fest

15th January 2025 | Festivals, Interview, New York, United States of America
The Fire This Time Festival Enters Its 16th Year

7th January 2025 | Interview, New York, Playwriting

December

The Beginnings of Theatre in Iraq

31st December 2024 | Essay, Iraq, Theatre and Politics
From Hunting Ritual to Installation Art: Tianzhuo Chen and Siko Setyanto’s “Ocean Cage”

31st December 2024 | Immersive Theatre, Indonesia, Japan, Kyoto Experiment 2024, Review
Тim Rice – 80: The Hero and His Many Anniversaries. Part I

30th December 2024 | Dramaturgy, Interview, Musical Theatre, United States of America
Filmmaker David Trueba’s theatre debut: “Los guapos/The Handsome Ones”

23rd December 2024 | Review, Spain
“1936”: Andrés Lima puts the Spanish Civil War on Stage

23rd December 2024 | Review, Spain
Humankind’s Search for the Living in Shinichi Anasako and Pijin Neji’s “Stand by Me”

23rd December 2024 | Japan, Kyoto Experiment 2024, Review
David McVicar’s new “Maria Stuarda” at Madrid’s Teatro Real

22nd December 2024 | Review, Spain, Theatre and Opera
Nanako Matsumoto and Anchi Lin (Ciwas Tahos) Trekking Mountains

19th December 2024 | Japan, Kyoto Experiment 2024, LGBTQ+ Theatre, Review, Taiwan
“No Power for the Electric Chair ” – Crime of Theatrical Absurd

16th December 2024 | Directing, Macedonia, Review
(LA)HORDE’s Flash Mob Revolution

13th December 2024 | France, Japan, Kyoto Experiment 2024, Review
Melati Suryodarmo and Alessandro Sciarroni Moving Within Patriarchy

12th December 2024 | Indonesia, Italy, Japan, Kyoto Experiment 2024, Review
“We Live in Cairo”-Off-Broadway

10th December 2024 | Musical Theatre, New York, Review, Theatre and Politics
“DRAG: The Musical.” An exclusive interview with Alaska Thunderfuck

9th December 2024 | Interview, LGBTQ+ Theatre, Musical Theatre, New York, United States of America
Big Bang Professional Week, Temporada Alta Fights Against ‘Mierda Bonita’

9th December 2024 | Festivals, News, Spain
On Kyoto Experiment’s Curatorial Vision

5th December 2024 | Festivals, Japan, Kyoto Experiment 2024, Management, News
Peter J. Chelkowski: A Life of Scholarship And Cultural Exchange

4th December 2024 | Interview, Iran, Poland, Transcultural Collaborations
Six Against Turkey – We Are All a Little Turkish

3rd December 2024 | Kosovo, Kosovo Albania Theatre Showcase 2024, Review, Theatre and Politics
Fruiting Body: What Mushroom-To-Human Conversations Reveal In A New Off-Broadway Play

3rd December 2024 | Festivals, Review, Theatre and Science, United States of America
“Dear Shameless Death – Dirmit” by Tiyatro Hemhâl: A Gift of Resistance

2nd December 2024 | Edinburgh 2024, Festivals, Review, Turkey, United Kingdom

November

The Revolutionary Spirit is Alive in “We Live in Cairo”

27th November 2024 | Musical Theatre, New York, Review, United States of America
The Images of Me: 2024 Prologue New Play Festival

25th November 2024 | Festivals, News, Taiwan
“Flower Sajza” at The National Experimental Theater of Tirana- Kosovo Albania Theatre Showcase

18th November 2024 | Documentary Theatre, Kosovo, Kosovo Albania Theatre Showcase 2024, Review
“How I Learned To Drive” – Heartefact Fund at the Kosovo Albania Theatre Showcase

18th November 2024 | Kosovo, Kosovo Albania Theatre Showcase 2024, Review, Serbia, Theatre and Gender
The Kosovo Albania Theatre Showcase 2024 – A Review of “The Internationals”

17th November 2024 | Kosovo, Kosovo Albania Theatre Showcase 2024, Review
Starlight Express The Musical: 40 Years in The Orbit

14th November 2024 | Europe, Germany, Interview, Musical Theatre, Review
Capitalism Meets Austerity in Àlex Rigola’s “Glengarry Glen Ross”

11th November 2024 | Review, Spain
Chela De Ferrari’s “The Seagull”: Theatre, Identity and Unrequited Love

10th November 2024 | Review, Spain
Shakespeare In Iraq: An Interview With Dr. Samir Talib

9th November 2024 | Interview, Iraq, Theatre and Politics
The Many Monsters of Ars Nova’s “The Beastiary”

7th November 2024 | New York, Puppetry, Review, United States of America
“Kafkaesque!” A Musical That Is As Hilarious As It Is, Well, Kafkaesque

5th November 2024 | Musical Theatre, New York, Review, United States of America
Ché Walker’s Burnt-Up Love at the Finborough Theatre: Crime and Redemption In A Shining Gem Of A Show

1st November 2024 | London, Playwriting, Review, United Kingdom

October

“Ghosts of My House” In İstanbul: A Contemporary Canadian Play Out Of Context Or Domesticating Whiteness

31st October 2024 | Review, Theatre and Politics, Turkey
“1981” directed by Tomi Janežič at Novi Sad Theatre

30th October 2024 | Acting, Directing, Review, Serbia
Director Laura Jones’ Career-Long Exploration Of Beckett Concludes With “Godot”

26th October 2024 | Essay, Review, United States of America
Trans Joy in The Christine Jorgensen Show

25th October 2024 | LGBTQ+ Theatre, New York, Review, United States of America
“Tattooer” At Atelier Shunpusha: “Tattooer” Reworks Tanizaki’s Japanese Tale Of Desire And Power With Subtlety And Verve

23rd October 2024 | Japan, Review, Theatre and Gender, United Kingdom
Regional Producing Theatres In England. Leeds Playhouse: A Case Study

22nd October 2024 | Essay, Management, United Kingdom
Deep Thoughts on Deep History at The Public Theater

22nd October 2024 | New York, Review, Theatre and Science, United States of America
“In The Name Of Profit” At Fringe Milano Off

20th October 2024 | Festivals, Italy, Review
Robert Icke’s Oedipus at Wyndham’s Theatre: Lots Of Stunning Acting Compensates For Some Questionable Writing

20th October 2024 | Adaptation, London, Review, United Kingdom
Trauma In Translation: Stratford’s Milestone Salesman In China

19th October 2024 | Canada, China, Review, Theatre and Politics
Electrifying Ensemble Performance and Political Satire in New Māori Play: “Unreel” by Helen Pearse-Otene

15th October 2024 | Education, New Zealand, Review, Theatre and Decolonization
“Paisatges Compartits (Shared Landscapes)”, A Pleasant Day of Theatrical Land Art

15th October 2024 | Festivals, Review, Spain
La Vie En Sickly Rose: Florian Zeller’s “The Son” at the German State Theatre

13th October 2024 | Review, Romania, Theatre and Politics
“Eréndira”: Show Business As Usual

12th October 2024 | Review, Romania
Theatrical Tectonics: The Slowdown Entertainment of a José Rivera Play

11th October 2024 | Review, Romania
“Border” And “Sheol/שאול” – Wachowicz/Fret Studio At Edinburgh Festival Fringe 2024

10th October 2024 | Edinburgh 2024, Poland, Review, United Kingdom
On State Theatres and Minoritarian Theatres: Interview with Andrea Wolfer, Head of the Dramaturgy and PR Department of the German State Theatre in Timișoara, Romania

9th October 2024 | Interview, Romania, Theatre and Politics
Meet ONG Keng Sen, the Artistic Director of Singapore’s T:>Works and Keynote Speaker at the 2024 Singapore Literature Festival in NYC

9th October 2024 | Adaptation, Festivals, Interview, Singapore
Mozart! The Gem of European Musical Theatre

8th October 2024 | Austria, Interview, Musical Theatre
Mark Rosenblatt’s Giant at the Royal Court: Provocative Drama About Anti-Semitism Is A Superb Play Of Ideas

7th October 2024 | Books, Review, Theatre and Politics, United Kingdom
The Perils of Parody in Forbidden Broadway: Merrily We Stole A Song

2nd October 2024 | Musical Theatre, New York, Review, United States of America
Pari Saberi: A Pioneering Woman In Iranian Theatre Passes Away At 92

1st October 2024 | Iran, News, Theatre and Gender

September

Report From The Underground: A New Iranian Theatre

25th September 2024 | Essay, Iran, Theatre and Politics
On The Other Side Of The Conundrum – A New Drama Inspired By “Picnic At Hanging Rock” In The National Theater Of Warsaw Poland [Part III]

23rd September 2024 | Poland, Review, Theatre and Decolonization
On The Other Side Of The Conundrum – A New Drama Inspired By “Picnic At Hanging Rock” In The National Theater Of Warsaw Poland [Part II]

23rd September 2024 | Poland, Review, Theatre and Decolonization
On The Other Side Of The Conundrum – A New Drama Inspired By “Picnic At Hanging Rock” In The National Theater Of Warsaw Poland [Part I]

23rd September 2024 | Poland, Review, Theatre and Decolonization
“The Most Daring Adventure Is Practicing Theater Remotely.” An Interview With Telematic Theater Pioneer Marina Hanganu [Part II]

18th September 2024 | Interview, Romania, Transcultural Collaborations, Transmedia
“The Most Daring Adventure Is Practicing Theater Remotely.” An Interview With Telematic Theater Pioneer Marina Hanganu [Part I]

18th September 2024 | Interview, Romania, Transcultural Collaborations, Transmedia
Timberlake Wertenbaker’s “Our Country’s Good” at the Lyric Hammersmith: Slightly Updated Classic Grounded by an Awkward Production

12th September 2024 | Review, Theatre and Politics, United Kingdom
Representation Of Women In Iraqi Theatre: An Interview With Playwright And Director Dr. Awatif Naeem

11th September 2024 | Interview, Iraq, Theatre and Gender
It Takes Artistry to Make Theatre for Young Audiences: New Theatre for Children Festival, Wrocław 2024

7th September 2024 | Czech Republic, Essay, New Theatre for Children Festival, Wrocław 2024, Norway, Poland, Slovakia, Theatre for Young Audiences, United Kingdom
“Dziwna Wiosna”: About Cruelty Without Brutality or a War Story for the Young Children

7th September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Theatre for Young Audiences, Ukraine
Tom Stoppard’s The Real Thing at the Old Vic: Spirited and Highly Enjoyable Revival of Semi-Autobiographical Love Drama

6th September 2024 | London, Review, Theatre and Politics, United Kingdom
Performance That Every Man Should See, And No Child Should

6th September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Theatre for Young Audiences
Post-Colonial B-Horror: “The Visitors” at Volksbühne Berlin

5th September 2024 | Germany, South Africa, Theatre and Dance, Theatre and Decolonization
“Ja Goryl, Ty Człowiek:” Understanding Koko

4th September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Theatre for Young Audiences
“My Mother’s Funeral”

4th September 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
“PÚPÄTKO” from the Slovak Ján Palárik Theatre

2nd September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Slovakia
“Drapando:” Scratching For A Connection

2nd September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Theatre for Young Audiences
“Púpätko” at the 7th New Theatre for Children Festival

1st September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Slovakia

August

“The Popess” Visits The Edinburgh Fringe Festival

31st August 2024 | Edinburgh 2024, Italy, Review, United Kingdom
“Malvolio’s Fantasy.” A Glitzy Retelling Of Twelfth Night

31st August 2024 | Adaptation, Edinburgh 2024, Review, Scotland
Contemporary Transnationalism Theatre in China: Theatre Review of “Apple Tree” directed by Feng Lu

30th August 2024 | China, Review, Theatre and Politics
Edinburgh Festival Fringe 2024 Overview

29th August 2024 | Edinburgh 2024, Review, United Kingdom
“L’Addition,” S’il Vous Plait

29th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
Adapting Lu Xun for the Contemporary Stage: A Production by China’s Central Academy of Drama at the Edinburgh Fringe Arts Festival: “ZhuJian (Forging the Swords)”

28th August 2024 | China, Chinese Theatre Abroad, Edinburgh 2024, Review
Intercultural Chinese Dance Artist in the UK: Interview with Joanna Hangyu Zhou

28th August 2024 | China, Chinese Theatre Abroad, Edinburgh 2024, Interview
Acting As Social Practice: Theater As A Tool To Initiate Dialogue In A Hyperdiverse Immigration Society

26th August 2024 | Essay, Germany, Theatre and Politics
A Stinging Critique of the American Dream Underlies “The Queen of Versailles”

23rd August 2024 | Boston, Dramaturgy, Essay, Musical Theatre, United States of America, Worldwide
Samuel Beckett’s “Krapp’s Last Tape” In The Digital World Of Zoom Theatre

23rd August 2024 | Review, Transmedia, United Kingdom
The Music of Magical Worlds. An Exclusive Interview with Alan Menken

23rd August 2024 | Interview, Musical Theatre, United States of America
Oscar Barney Finn and Paulo Brunetti Interview

20th August 2024 | Adaptation, Argentina, Interview
“The Amazing Doctor She Medicine Show”

19th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom, United States of America
Climate Change Shakespeare. “A Midsummer’s Tempest”

18th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
Dialoguing With The Classics In Madrid: “La Fortaleza/The Fortress” And “Macho Grita/Alpha Male Shouts”

16th August 2024 | Review, Spain, Theatre and Politics
Bologna To Edinburgh Non-Stop

16th August 2024 | Edinburgh 2024, Festivals, Italy, Review, United Kingdom
Scottish Nursery School Kids Bring A Comedic Shakespeare To The Fringe

16th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
Luke Wright, A Spoken-Word Poet At The Top Of His Game

16th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
“Freak Out!” A Heady Cocktail About Climate Change

16th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
“In Two Minds.” Female Led Irish Storytelling

15th August 2024 | Edinburgh 2024, Festivals, Ireland, Review, Theatre and Science, United Kingdom
Tampere Theatre Festival 2024: Asking Important Questions About Theatre and Democracy

15th August 2024 | Festivals, Finland, Review, Tampere Theatre Festival 2024
“Catarina and the Beauty of Killing Fascists” at the Tampere Theatre Festival: Do We Defend Democracy by Breaking Its Rules?

15th August 2024 | Festivals, Finland, Portugal, Review, Tampere Theatre Festival 2024
“Penthesilea” After Von Kleist. Let’s Rock

14th August 2024 | Edinburgh 2024, Festivals, Netherlands, Review, United Kingdom
“Hamstrung.” Yorick’s Untold Story

14th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
Isabella Rossellini at Rubix Festival in Montenegro

14th August 2024 | Acting, Festivals, Montenegro, Review
“The Outrun”

13th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
It Could Happen: Interview with Playwright Sean King and Director William Roudebush

11th August 2024 | Interview, New York, United States of America
A Faustian Bargain Itself: Emursive’s “Life and Trust”

7th August 2024 | Immersive Theatre, New York, Review, United States of America

July

The Many Publics Of “The Marché Des Arts Du Spectacle D’Abidjan”

30th July 2024 | Côte d'Ivoire, Essay, Festivals, Transcultural Collaborations
52nd Venice Theatre Biennale (15-30 June). Gob Squad’s “Elephants In Rooms” And “Creation (Pictures For Dorian)”

28th July 2024 | Festivals, Italy, Review, Transmedia
“Wine & Halva:” Post-Migration And The Limits Of Western Liberalism

26th July 2024 | Canada, Review, Theatre and Politics
Playwriting The “Next Generation.” How To Create A Character At The University Of Arts In Târgu-Mureș.

25th July 2024 | Interview, Playwriting, Romania
“Macbeth (An Undoing)”: A New Take That Aims To Reimagine Lady Macbeth’s Path – But Ultimately Leaves You Guessing

24th July 2024 | Adaptation, Australia, Review
“The Hope Theory:” A Recipe For Believing In Your Dreams

24th July 2024 | Review, Transcultural Collaborations, United States of America
TheTheatreTimes.com wins the 2024 ATHE-ASTR Award for Excellence in Digital Scholarship

22nd July 2024 | News, United States of America
Wajdi Mouawad’s “Littoral”: Searching for Peace Through the Devastation of War

22nd July 2024 | Canada, Lebanon, Review, South Korea, Theatre and Politics
Back to the Updated Future: Rock Opera “Starmania” – 45th Anniversary

21st July 2024 | France, Interview, Musical Theatre, Review
Bell Shakespeare’s New “King Lear” Understands The Joy Of A Good Tragedy

20th July 2024 | Australia, Dramaturgy, Review, Sydney
The “ETC Theatre Green Book” and Theatre-making During Climate Crisis

20th July 2024 | Essay, Europe, Theatre and Science
SmaranniK Theatre Festival 2024 In Bengaluru On July 20

20th July 2024 | Festivals, India, News
New Aussie Play “Hits” Reclaims The Rush Of First Concerts And Band Culture For Young Women

20th July 2024 | Australia, Review, Theatre for Young Audiences
“Dorian the Musical:” This Rock Adaptation Of Oscar Wilde’s Classic Missteps At Every Turn

19th July 2024 | Musical Theatre, Review, United Kingdom
Jordan Cheng: The Genial Striver Of Hong Kong Musical Theatre

19th July 2024 | Hong Kong, Interview, Musical Theatre
52nd Venice Theatre Biennale (15-30 June). Tim Crouch’s “Truth’s A Dog Must To Kennel”

18th July 2024 | Dramaturgy, Festivals, Italy, Review
Miss Julie: Amy Ng Brings A “Problem Play” To Hong Kong

17th July 2024 | Hong Kong, Review, Theatre and Politics
At This Year’s Rising Festival, I Was Most Excited By The New And Unexpected Audiences

16th July 2024 | Australia, Festivals, Melbourne, Review
Sydney Theatre Company’s “Dracula”: A Virtuosic Performance, Sexy Staging, And A Queer Rewriting

16th July 2024 | Adaptation, Australia, Review
Make Your Classroom Multilingual: On Training Students For Rapidly Changing Cultural Landscapes

15th July 2024 | Education, Essay, Poland, Theatre and Politics
“Cats”: The Jellicle Ball is near Purrfect

13th July 2024 | LGBTQ+ Theatre, New York, Review, United States of America
New Buds on a Fertile Island: New Play Development in Taiwan, Part 1

11th July 2024 | Dramaturgy, News, Playwriting, Taiwan
New Buds on a Fertile Island: New Play Development in Taiwan, Part 2

11th July 2024 | News, Playwriting, Taiwan
Adelaide Cabaret Festival Understands How Its Audiences Long For Connection and Community

10th July 2024 | Australia, Festivals, Review
Medea as a Border-Body [Part I]

10th July 2024 | Review, Theatre and Politics, United States of America
Medea as a Border-Body [Part II]

10th July 2024 | Review, Theatre and Politics, United States of America
Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 1.

9th July 2024 | Interview, Theatre and Politics, Ukraine
Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 2.

9th July 2024 | Interview, Theatre and Politics, Ukraine
At the Intersection of Interactive Mediums: “DIRT” Blends Games and Theater at The Tank

8th July 2024 | Interview, New York, United States of America
“Invisible Lands,” Bodies, Gods, and… People

7th July 2024 | Review, Romania, TESZT 2024, Transmedia
The Bounds, Royal Court

4th July 2024 | Dramaturgy, Review, United Kingdom
Water for Elephants: a Musical or a Circus Drama?

4th July 2024 | Musical Theatre, New York, Review, United States of America
New Play “American Signs” Looks At The Nefarious World Of Consultancies – But Leaves Australia Off The Hook

3rd July 2024 | Review, Theatre and Politics, United States of America
Miangaly Theatre Company: Defining the Stage in Madagascar

3rd July 2024 | Essay, Madagascar, Management
“Pericles” – An Odyssey from Timișoara

1st July 2024 | Review, Romania, TESZT 2024, Transmedia
“Youth Without God;” Unkind, Realistic Reminder

1st July 2024 | Review, Romania, TESZT 2024, Transmedia

June

“The Marilyn Conspiracy,” Park Theatre

30th June 2024 | London, Review, United Kingdom
“The Constituent,” Old Vic

30th June 2024 | Review, Theatre and Politics, United Kingdom
Death Is Funny, Death is Lame, Death is Sudden, Death Can Happen to “Anybody”

29th June 2024 | Review, Romania, TESZT 2024, Transmedia
Bengaluru Play ‘The Earthquake’ Explores Loneliness Through Unspoken Words

27th June 2024 | India, Interview, Transcultural Collaborations
“My Father’s Fable,” Bush Theatre

25th June 2024 | Nigeria, Review, United Kingdom
“Laughs In Spanish” Review

25th June 2024 | Review, Theatre and Gender, United States of America
How Padmavati Rao Embraces Life Through Theatre And Activism

23rd June 2024 | Acting, India, Review
The Plasticity of Perception: “Babies on the Street: The Show” Brings Internet Drama to The Brick

23rd June 2024 | Interview, New York, United States of America
Liu Xiaoyi’s Creative Revolution

21st June 2024 | Hong Kong, Review, Theatre and Art
Exploring A Dystopian World: Where Water Reigns Supreme In Human Transactions

21st June 2024 | Review, Theatre and Science, United States of America
Ali Asghar Dashti & Nasim Ahmadpour – “We Came To Dance” (Kunstenfestivaldesarts)

20th June 2024 | Iran, Review, Theatre and Politics
TESZT 15: Euroregional Theatre Festival Timișoara, Romania (19-26 May, 2024)

20th June 2024 | News, Romania, TESZT 2024
Liu Xiaoyi’s Creative Revolution

19th June 2024 | Directing, Hong Kong, Interview, Singapore
Critical Generosity as a Decolonial Praxis

19th June 2024 | Austria, Review, Theatre and Decolonization
CPH Stage Festival 2024

18th June 2024 | Denmark, Festivals, Review
When Sondheim Meets TikTok

18th June 2024 | Musical Theatre, United States of America
Netherworld or Right Now?

17th June 2024 | Directing, New York, Review, United States of America
Hopes, Dreams, Revenants and Repetitions: La Zaranda’s “Manual Para Armar Un Sueño/Manual For Building A Dream” At Barcelona’s Teatre Romea

16th June 2024 | Review, Spain
Sentimentality and Mentality, Apocalypse and Theatrical Eclipse at 69th Sterijno Pozorje

16th June 2024 | Festivals, Review, Serbia
Happy Birthday Nuria Espert: “a Great Actor And a Force of Nature”

11th June 2024 | Acting, News, Spain
Sanaz Toossi’s English at the Kiln Theatre: Pulitzer Prize-Winning Play Shows the Impacts of a Second Language on Identity

10th June 2024 | London, Review, Theatre and Politics, United Kingdom, United States of America
“Homo Pentecostus:” On Queer Intimacies, Religion, Ancestry And The Human Need For Connection

5th June 2024 | Australia, Review, Theatre and Religion
Theatre as Confrontation: Catherine Filloux’s “How to Eat an Orange” at La MaMa

4th June 2024 | Algeria, France, Interview, Theatre and Politics
“Lie Low,” Royal Court

2nd June 2024 | London, Review, Theatre and Politics
Eazees Int’l Women’s Theatre Festival Concludes Its Activities At Cairo Opera House

1st June 2024 | Egypt, Festivals, News
Back to Back’s “Multiple Bad Things” takes a sophisticated look at the moral ambiguities of today’s ‘culture wars’

1st June 2024 | Australia, Review, Theatre and Disability
When Theatre Meets Gaming: “Third Law” at Culture Lab LIC

1st June 2024 | Immersive Theatre, New York, Review, United States of America

May

Holes In The Hole

30th May 2024 | New York, Review, Theatre and Politics, United States of America
Prominent American Theatre Scholar, Elinor Fuchs, Dies at 91

28th May 2024 | Dramaturgy, New York, News, United States of America
“Bluets,” Royal Court

28th May 2024 | London, Review, Theatre and Art, United Kingdom
“The Harmony Test,” Hampstead Theatre

27th May 2024 | London, Review, Theatre and Gender
How A New Play Reimagines Rural Hunan For The Modern Stage

27th May 2024 | China, Interview, Israel
“Between Riverside And Crazy,” Hampstead Theatre

25th May 2024 | London, Review, Theatre and Politics
“Symphonie Of The Bicycle:” On The Desire To Be Great, And The Desire To Live A Life With Great Meaning

22nd May 2024 | Australia, Review, Theatre and Politics
“Ronja, the Robber’s Daughter:” Theater Conventions for Kids

22nd May 2024 | Poland, Review, Theatre for Young Audiences
Like Mother, Like Son: “Redemption Story” at A.R.T./NY

22nd May 2024 | New York, Review, Theatre and Film, United States of America
“Miss Saigon”: Déjà vu. An exclusive interview with Claude-Michel Schönberg

21st May 2024 | France, Interview, Musical Theatre
What Do You Know About French Hong Kong?

19th May 2024 | Hong Kong, Review, Theatre and Art
The Return of the Musical “Titanic” to NYC

19th May 2024 | Musical Theatre, Review, United States of America
“English,” a Gate to Enriching Desired Dreams

15th May 2024 | Review, Theatre and Politics, United States of America
“Earworm:” Entangled in the Political Landscape

15th May 2024 | Canada, Review, Theatre and Politics
Legacy of TiyatroTem on the Independent Theatre Scene of Turkey after 2000s

15th May 2024 | Essay, Theatre and Decolonization, Turkey
A Story Of Trauma, Hope And Regaining Control, “Nayika: A Dancing Girl” Is Soul-Stirring Dance Theatre

15th May 2024 | Australia, Review, Theatre and Dance
“Bérénice” at Milan’s FOG Festival

14th May 2024 | Festivals, Italy, Theatre and Art
Igor Vuk Torbica (1987 – 2020) – Balkan “Prince of Theatre” – The third Igor’s Days

13th May 2024 | Directing, Macedonia, Review, Serbia
From Exile to Redemption

12th May 2024 | Review, Theatre and Politics, United States of America
Obari Gomba’s Grit and the Politics of Vendetta

9th May 2024 | Nigeria, Review, Theatre and Politics
Refugee Voices Take Centre Stage At UK Theatre Company

7th May 2024 | Interview, Theatre and Politics, United Kingdom
How To Recognise Us? The Foreign Women In London: Theatre Review Of “Don’t Get Me Wrong”

5th May 2024 | Review, Theatre and Politics, United Kingdom
“Gunter,” Royal Court

4th May 2024 | Review, Theatre and Gender, United Kingdom
Retro-futurist Green Theatre: Trick of the Light’s “Suitcase Show”

2nd May 2024 | New Zealand, Puppetry, Review
Good Fortune: A French Director Embraces Hong Kong

1st May 2024 | France, Hong Kong, Transcultural Collaborations
“The Divine Mrs S,” Hampstead Theatre

1st May 2024 | Documentary Theatre, Review, United Kingdom

April

I Wholeheartedly Recommend “The President:” A Brilliant Revival Of A Play Of Decay, Terror And Revulsion

30th April 2024 | Australia, Review, Theatre and Politics
Bharatiya Vidya Bhavan’s Theatre Festival Featured A Range Of Themes

30th April 2024 | India, Playwriting, Review
Mad Spring Roundup

29th April 2024 | Review, Theatre and Politics, United States of America
Follies and Murder Ballads and Extinction, Oh My!: New York City Fringe 2024

28th April 2024 | Festivals, Review, United States of America
New Play “The Exact Dimensions of Hell” Explores The Chaos And Contradiction Of Teenage Girlhood – And Witchcraft

27th April 2024 | Australia, Review, Theatre and Gender
Sharm El-Sheikh Int’l Theatre Festival For Youth Wraps Up Its Poland Monodrama Edition

26th April 2024 | News, Poland, Transcultural Collaborations
“Without a State:” a Collision Between Migration and the Perpetual Pursuit of Identity and Belonging

23rd April 2024 | Review, Theatre and Politics, Zimbabwe
“London Tide,” National Theatre

22nd April 2024 | Dramaturgy, Review, United Kingdom
“That Perfect Dark”: Samuel Beckett’s “Company” in Dunedin

19th April 2024 | Adaptation, New Zealand, Review, Worldwide
The Comeuppance, Almeida Theatre

18th April 2024 | Acting, Review, United Kingdom
‘Strong Theatre With Unwavering Precision’: Into The Shimmering World Asks Us What Does It Mean To Be Good?

16th April 2024 | Australia, Review, Theatre and Gender
Anything Can Be Bought If The Price Is Right: Juan Mayorga’s “La Colección” (The Collection)

12th April 2024 | Review, Spain
Who’s Afraid of Thomas Stockmann?

10th April 2024 | Immersive Theatre, New York, Review, United States of America
Marfa’s Mysterious Lights Come to Hong Kong

10th April 2024 | Hong Kong, Interview, Transmedia
Staging Justice: Miguel del Arco revisits Jordi Casanovas’ “Jauría” and the case of “la manada” (the wolfpack)

9th April 2024 | Review, Spain
Towards New Theatre in Europe: What Roles Can Multilingual Dramaturgies Play in Europe’s Future(s)?

8th April 2024 | Dramaturgy, Interview, Theatre and Politics
Milan’s FOG Festival

7th April 2024 | Festivals, Immersive Theatre, Italy
Mariam Ndagire: A Full Career in Theatre, Music and Film

4th April 2024 | Acting, Essay, Uganda
Between The REMBELIO OF POPOLARI (“Omilies”, Carnevals, Anonymous Poets) And No Stable Funding

4th April 2024 | Greece, Interview, Management
Sharm El-Sheikh Int’l Theatre Festival For Youth To Launch Sister Edition In Poland

2nd April 2024 | News, Poland, Transcultural Collaborations
The Silent Service of Women: Cayenne Douglass’s “Maiden Voyage” at The Flea

2nd April 2024 | New York, Review, Theatre and Gender, United States of America

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