In the Mind’s Eye: Collective Imagination at the Edinburgh Fringe 2026 28th August 2026 | Edinburgh 2026, Essay, United Kingdom
Beyond the Velvet Ropes: Inside Lincoln Center’s Next Act 28th August 2026 | Interview, New York, Transmedia
From Bacon to Bananas: Edinburgh Festival Fringe 2026 in 24 Shows 28th August 2026 | Edinburgh 2026, Festivals, Review, United Kingdom
A Fish Swimming Across Tanks: An Interview with Taiwanese Playwright Yu-Hsuan Chou 26th August 2026 | Interview, Playwriting, Taiwan, Transcultural Collaborations
Most Importantly, The Child Should Experience How Theatre Can Make Kindness, Patience, Courage And Curiosity Matter 26th August 2026 | Algeria, Interview, Macedonia, Theatre for Young Audiences
Monumental Environment For 9-Hour Celebration Of Goethe’s “Faust” At The Goetheanum 24th August 2026 | Acting, Directing, Review, Switzerland
Confidence Is A Rollercoaster – Don’t Ever Pay Money To Become Famous 24th August 2026 | Interview, Macedonia, Theatre and Film, United Kingdom
Dancing With Bob: Visual Arts And Dance In Dialogue With Each Other 24th August 2026 | Festivals, Italy, Review, Theatre and Dance
“The Story of the Stone”: A Chinese Classic as an Epic Musical Awes Korean Audience 21st August 2026 | China, Musical Theatre, Review, South Korea
Laughing in Transit: Humor and Absurdism in Arab Canadian Theatre 21st August 2026 | Canada, Essay, Theatre and Art
“Low German” Theatre in Bremerhaven: “The Physicists” by Dürrenmatt 17th August 2026 | Germany, Review, Translation
Iraqi Theatre in Canada: Exile Beyond Arrival 13th August 2026 | Canada, Essay, Iraq, Theatre and Art
Alan Ayckbourn’s “How the Other Half Loves” at the Old Vic: Technically Brilliant if Rather Overlong and Old-Fashioned West End Farce 13th August 2026 | Playwriting, Review, United Kingdom
CATS: Expanding the Horizons. An Exclusive Interview with Betty Buckley – Broadway’s Original Grizabella 12th August 2026 | Interview, Musical Theatre, New York
A Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 2 21st July 2026 | Acting, Directing, Interview, Malaysia, Playwriting, Taiwan, Theatre and Art
A Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 1 20th July 2026 | Acting, Directing, Interview, Malaysia, Playwriting, Taiwan, Theatre and Art
Beyond the Storm, a New York City Opera Thrives 19th July 2026 | New York, Review, Theatre and Opera, United States of America
“71 Minutes of Movement:” Dance and Activism in the Twin Cities 18th July 2026 | Essay, Review, Theatre and Dance, Theatre and Politics, United States of America
Cross-Border Collaboration 15th July 2026 | Israel, Review, Syria, Transcultural Collaborations, United States of America
Harsh And Relentless Social Criticism In Kosky’s Production Of Brecht’s “Threepenny Opera” At The Berliner Ensemble 14th July 2026 | Acting, Directing, Germany, Review
Beautiful Detours: An Interview with Taiwanese Playwright Cheng-Chun Lee 13th July 2026 | Interview, Playwriting, Taiwan, Theatre and Dance, Theatre and Politics, Theatre for Young Audiences, Translation
“Don’t Look Now”: Directing Theatre About the Climate Crisis 11th July 2026 | Directing, New Zealand, Theatre and Politics
Writing On An Empty Stage: An Interview with Taiwanese Playwright Chien-Cheng Chen 9th July 2026 | Interview, Playwriting, Taiwan, Theatre and Politics
A Celebration Of Bremen Past And Present: “Schnoor-Geschichten Mit Heini Holtenbeen – Bremen In 90 Minuten” At The Packhaustheater Bremen 6th July 2026 | Acting, Directing, Germany, Review
“No Man’s Land:” Architecture As Collective Enactment – From Scenography Toward Activated Space 6th July 2026 | Interview, Macedonia, Theatre and Politics
A Magical “Tempest” In Stratford-Upon-Avon 26th June 2026 | Review, Theatre and Politics, United Kingdom
Venice Theatre Biennale 2026 – “Memorandum” 26th June 2026 | Festivals, Italy, Review, Theatre and Age, Venice Theatre Biennale 2026
Venice Theatre Biennale 2026 – A Japanese “Othello” 26th June 2026 | Italy, Japan, Review, Venice Theatre Biennale 2026
Performing Between Six Languages: An Interview With Anissa Naji 26th June 2026 | Interview, Musical Theatre, Theatre and Politics, United States of America
“Translators As The Most Attentive And Analytical Readers: Knowing Every Corner, Strength, And Weakness Of A Text” 26th June 2026 | Interview, Macedonia, Poland, Translation
Oldenburg’s Production Of “Mephisto” Continues And Expands The Important Debate Of The Artistic Response To Adverse Political Circumstances 25th June 2026 | Germany, Review, Theatre and Politics
Venice Theatre Biennale 2026 – Mario Banushi’s “Romance Familiare” 24th June 2026 | Greece, Italy, Review, Venice Theatre Biennale 2026
Itai Erdal’s Soldiers of Tomorrow at the Finborough Theatre: An Uninhibited Account Of The Conflict Between Israel And The Palestinians 19th June 2026 | London, Review, Theatre and Politics, United Kingdom
Sadness And Mourning Dominate Theater Bremen’s “Hamlet” 16th June 2026 | Acting, Directing, Germany, Review
Historical Memory On the Stage: Juan Mayorga’s “El Jardín Quemado” (The Scorched Garden) 11th June 2026 | Review, Spain
Now In Its 23rd Year, “Komödie Am Altstadtmarkt” In Braunschweig Is Still Going Strong 10th June 2026 | Acting, Directing, Germany, Review
The Precipitation Of Performance: Braddy And Burns On Beckett 6th June 2026 | Acting, Essay, United States of America
“Today, Krleža Would Go Straight For The Throat Of Project-Based Logic” 5th June 2026 | Croatia, Interview, Macedonia, Playwriting
Me+Lorca: Juan Diego Botto’s Mesmeric “Una noche sin luna” (A Moonless Night) 3rd June 2026 | Review, Spain
Corinna Harfouch’s Showpiece Of The Art Of Acting In Haidle’s “Spirit And The Dust” 2nd June 2026 | Acting, Germany, Review
“Chroniques” by Peeping Tom at Østre Gasværk Teater Copenhagen 28th May 2026 | Belgium, Denmark, Review, Theatre and Dance
A Theatre Like Society In The Fundamentalist Capitalism Could Not Survive Without Self-Curated Neomania 23rd May 2026 | Interview, Macedonia, Theatre and Art
From A Basketball Athlete To A Political Dissident 22nd May 2026 | Belarus, Review, Theatre and Politics, United Kingdom
Bremen’s Packhaustheater Turns To Artist Paula Modernsohn-Becker 21st May 2026 | Directing, Germany, Review
Chess The Musical: About Human Nature, Not Politics. An Exclusive Interview with Tim Rice 20th May 2026 | Interview, Musical Theatre, Transcultural Collaborations, United States of America
Richard III at MITEM: When the Monster Is Not Alone 19th May 2026 | Festivals, Hungary, Israel, Review, Theatre and Politics
Theatre – Creating Conditions For What Has Been Silenced To Emerge 16th May 2026 | Brazil, Directing, Interview, Macedonia
“The Copenhagen Trilogy” by Tove Ditlevsen, adapted by Tom Silkeberg, directed by Anja Suša at Malmö City Theatre 16th May 2026 | Denmark, Review, Sweden
“Mothers: A Song for Wartime” by Marta Górnicka at Gothenburg City Theatre 13th May 2026 | Poland, Review, Sweden, Ukraine
In “The Aquarium” Nina Plavanjac Turns Family Memory Into a Transparent Cage 12th May 2026 | Festivals, Hungary, Review, Serbia
Pinocchio. What Is a Person? at MITEM: Who Gets to Be Seen as Fully Human? 8th May 2026 | Festivals, Hungary, Review, Theatre and Disability
At The Düsseldorfer Schauspielhaus, “Gott ‘By Ferdinand Von Schirach Presents Its Tough Ethical Dilemma For The Audience To Vote On 5th May 2026 | Directing, Germany, Review
Guilt And Resilience, And “The Fear Of 13” 3rd May 2026 | Acting, Adaptation, New York, Review, United States of America
Birmingham Royal Ballet’s “Don Quixote” Slowly Finds Its Sunshine 2nd May 2026 | Review, Theatre and Dance, United Kingdom
“Managed Approach” – Two Contrasting Stories – Open Aire Theatre, Riverside Studios, London 1st May 2026 | Review, Theatre and Politics, United Kingdom
Maxim Sukhanov – About The “Brew” Of A Performance, Krymov Rehearsals, “Dramatic Provocations” And The “Hope For The Good”. 1st May 2026 | Acting, Directing, Interview, Lithuania, Russia
Bound To Start Again, Again, Again… 27th April 2026 | Review, Theatre and Gender, United States of America
The Wooster Group’s “Nayatt School Redux” at the Coronet Theatre: Made-Over Experimental Classic Marks A Great Comeback 25th April 2026 | Devised Theatre, Review, United Kingdom, United States of America
“Jen Xponential,” A Story Of Potential 24th April 2026 | Musical Theatre, Review, United States of America
“Art Of Andalucia:” Rain Outside, Fire Within. Daniel Martinez Flamenco Company at The Haymarket, Basingstoke, Hampshire. 22nd April 2026 | Review, Theatre and Dance, United Kingdom
Developing Theatre And Performance Pedagogy Through Marae-based Wānanga In Aotearoa/New Zealand. Part II 22nd April 2026 | Education, New Zealand, Oceania, Theatre and Decolonization
Developing Theatre And Performance Pedagogy Through Marae-based Wānanga In Aotearoa/New Zealand. Part I 21st April 2026 | Education, New Zealand, Oceania, Theatre and Decolonization
A Successfully Funny Perspective On Life Aspirations In State Theatre Oldenburg’s Production Of “Bondy Beach” 15th April 2026 | Directing, Germany, Review
Chekhov’s “Uncle Vanja”, directed by Yana Ross at the Royal Theatre, Copenhagen 14th April 2026 | Denmark, Review
Michael Frayn’s “Copenhagen” at the Hampstead Theatre: Excellent Revival Of Iconic Play About The Ethics Of The Atom Bomb 14th April 2026 | London, Playwriting, Review, United Kingdom
From Richard To Richard: MITEM 2026 And a Europe in a State of Alarm 14th April 2026 | Festivals, Hungary, Theatre and Politics
Adaptations On The German Stage (3): Theater Bremen Is Keen On The Long Haul 10th April 2026 | Adaptation, Germany, Review
GPS M S Biomechanics System Vs. Narcissism: “Shouting, Making Faces, And Being Crazy Is NOT Enough To Be A Clown” 8th April 2026 | Denmark, Interview, Kazakhstan, Theatre and Dance
Christopher Hampton’s “Les Liaisons Dangereuses” at The National Theatre: Busy Highly Stylized Revival Is All Spectacle And No Emotion 8th April 2026 | Adaptation, Review, United Kingdom
Memories Of And Acting In Old Age Are Central To “Ein Deutsches Leben” 8th April 2026 | Acting, Germany, Review, Theatre and Politics
Lyle Kessler Receives Lifetime Achievement Award In Playwriting 7th April 2026 | Interview, New York, Playwriting
Everything In Programming Matters To Cultivate The Spectator`S Free Will 7th April 2026 | Côte d'Ivoire, Interview, Macedonia, Management
David Yazbek: The Master of Adapting Films into Musicals. An Exclusive Interview 2nd April 2026 | Interview, Musical Theatre, United States of America
The Auto-fictional Mode As A Variation Of Biographical Material In The Theatre 1st April 2026 | Directing, Germany, Review
On Fire: Luciana Acuña’s “Bailarinas Incendiadas” (Dancers in Flames) 29th March 2026 | Argentina, Review
The 2026 International Ibsen Award: A Reflection On The Winner By The Committee 27th March 2026 | News, Norway, South Korea, Transmedia
Sibling love and loss: Alfredo Sanzól’s new play at Madrid’s Teatro María Guerrero 26th March 2026 | Review, Spain
Moving Emphasis On Tolerance And Courage In “Nasser # 7 Leben” At The Schnürschuh Theater Bremen 26th March 2026 | Directing, Germany, Review, Theatre for Young Audiences
From Shakespeare To Contemporary Montenegrin Authors, I Aim To Connect With Society Through The Works I Choose 25th March 2026 | Directing, Festivals, Interview, Macedonia, Montenegro
To speak out or not to speak out?: Claudio Tolcachir directs “Mejor no decirlo/You Shouldn’t Have Said So” at Barcelona’s Teatre Goya 24th March 2026 | Argentina, Review, Spain
Waking Up in the Spotlight with “The Unusual Chauncey Faust” 24th March 2026 | New York, Review, Theatre and Art, United States of America
Poetry: The Realm Where Unrealized Ambitions Find Aesthetic Sublimation 19th March 2026 | Interview, Macedonia, Slovenia, Translation
When It Comes For Us: “Prophet Song” 17th March 2026 | Adaptation, Canada, Netherlands, Review, Theatre and Politics
Fassbinder Takes The Stage At The Schaubühne 16th March 2026 | Adaptation, Directing, Germany, Review
Marketing, Sales And Production Are Crucial For The Survival And Success Of Any Project 16th March 2026 | China, Interview, Israel, Management
Romeo Castellucci “Believing In Masks” At Milan’s Fog Festival 13th March 2026 | Directing, Festivals, Italy, Review
“Last Call” Brings Us Closer To Bernstein And Von Karajan 13th March 2026 | Directing, Germany, Playwriting, Review
“Is Love Energy Or Matter?” An Interview With Rok Vilcnik, Slovenian Playwright, Author, Musician, Poet 11th March 2026 | Interview, Macedonia, Playwriting, Slovenia
“An Enemy Of The People:” An Oblique Look At Democracy From Schaubühne Berlin 9th March 2026 | Germany, Greece, Review, Theatre and Politics, Transcultural Collaborations
“Digital Access To The Performing Arts” Released Open Access 7th March 2026 | Australia, Books, Essay, Europe, Transmedia, United Kingdom, United States of America
Dea Loher’s New Play “Frau Yamamoto Ist Noch Da” In Bremen And Osnabrück 5th March 2026 | Directing, Germany, Review
Isolation, Consumer Desire and the Human Spirit: A Review of “The Chair and the Cello” 2nd March 2026 | Devised Theatre, New Zealand
Picasso’s “Barber” At The Spanish National Theatre 24th February 2026 | Directing, Management, Review, Spain
Olga Braga’s “Donbas” at Theatre 503: Complex Account Of The Start Of The Ukraine War Is Deeply Humanistic 20th February 2026 | Playwriting, Review, Theatre and Politics, Ukraine, United Kingdom
In the City of al-Sayyab, Theatre Still Speaks 19th February 2026 | Essay, Iraq, Theatre and Politics
Terence Rattigan’s “Man and Boy” at the National Theatre: Rare 1960s Rattigan Play Gets A Meta-Theatrical Revival 19th February 2026 | Acting, Directing, Review, United Kingdom
“Between.Europe: Theatre In Romania.” Conversations And Visual Theatrical Exchanges Between Romania And Poland 10th February 2026 | Essay, Festivals, Poland, Romania, Transcultural Collaborations
NYC’s Under The Radar Festival Uses Lessons From The Past To Shape The Future 9th February 2026 | Australia, Festivals, Review, United States of America
Frantic Assembly’s “Lost Atoms” at the Lyric Hammersmith: 30th Anniversary Show Is About Love But Its Story Is Predictable And Bland 9th February 2026 | London, Playwriting, Review, Theatre and Gender, United Kingdom
“The Devil Wears Prada” and Other Musicals by Sir Elton John. 8th February 2026 | Essay, Musical Theatre, United States of America
The “Screen / Stage” Programme At The Between.Pomiędzy Festival 2025 6th February 2026 | Essay, Festivals, Poland
In Oldenburg’s “The Tempest,” Trusting The Text Pays Off 6th February 2026 | Directing, Germany, Review
Enzo Moscato. “I Can’t Tell The Story Of My Life” (“Non Posso Narrare La Mia Vita”) 6th February 2026 | Directing, Italy, Review
Raising Fists and Sharing Bread: Tiziano Cruz’s “Wayqeycuna” (Argentina) 5th February 2026 | Argentina, Canada, Review, Theatre and Decolonization
Santiago’s Teatro a Mil 2026: theatre, democracy and artistic responsibility 4th February 2026 | Chile, Festivals, Review
“A Place Of Safety, A Journey In The Central Mediterranean” 3rd February 2026 | Italy, Review, Theatre and Politics
Kia Mau Festival Brings Hana Keaka (Hawaiian Language Theatre) to Aotearoa: “Puana” by Tammy Haili‘ōpua Baker 29th January 2026 | Festivals, Hawaii, New Zealand, Theatre and Decolonization, Transcultural Collaborations
“Before The Storm” (“Prima Del Temporale”) At Milan’s Piccolo Teatro 27th January 2026 | Acting, Italy, Review
How to Make Rube Goldberg Punk Rock: Narcissister’s “Voyage Into Infinity” 27th January 2026 | Review, United States of America
Martin Crimp’s Version Of “The Seagull” Makes It To The German Stage 26th January 2026 | Directing, Germany, Review
Under The Radar Fest: Testo 23rd January 2026 | New York, Review, Theatre and Gender, United States of America
For Bremen’s Re-Launched Packhaustheater, The Emphasis Shifts From Local Topics To Local Acting Celebrities 8th January 2026 | Directing, Germany, Review
Alan Ayckbourn’s Woman in Mind at the Duke of York’s Theatre: Starry West End Staging Is More Visually Delightful Than Emotionally Compelling 8th January 2026 | Acting, London, Playwriting, Review, United Kingdom
Leading with Risk, Trust, and Intuition: An Exclusive Interview with Director Charles Newell on Berlin’s Rehearsal Room 7th January 2026 | Chicago, Directing, Interview, United States of America
Writing Across Taiwan and Macau: An Interview with Taiwanese Playwright Chiao-Jung Chen 6th January 2026 | Interview, Playwriting, Taiwan
Echoes of a Crumbling Republic: Review of “Berlin” at Chicago’s Court Theatre (2025) 4th January 2026 | Review, Theatre and Politics, United States of America
“Leili And Majnun:” An Ancient Love Story For Modern Times 3rd January 2026 | Iran, Review, Theatre and Politics, United States of America
Truth and Reconciliation in “Under the Shade of a Tree I Sat and Wept” – Kosovo 2nd January 2026 | Kosovo, Review, South Africa
Thought-Provoking Crime Drama And Star Vehicle: “Nebenan” At The Renaissance Theater, Berlin 2nd January 2026 | Directing, Germany, Review
Learning To Listen, Struggling To Hear: Katie Mitchell’s “Cow / Deer” 2nd January 2026 | Directing, Greece, Review, Transcultural Collaborations, United Kingdom
Gender Allows A Different Perspective On Ibsen’s “Der Volksfeind” (“An Enemy Of The People”) In Bremerhaven 1st January 2026 | Directing, Germany, Review
What Happens In Mecca, Stays In Mecca: “Pilgrimage” By Humaira Ghilzai And Bridgette Dutta Portman 31st December 2025 | Review, Theatre and Religion, United States of America
“Historia de una maestra” (Story of a Teacher) at Madrid’s Teatro Valle-Inclán: Arguing for Education as a Way of Life 28th December 2025 | Review, Spain
Lolita Flores Places Poncia Centre-stage: A New Re-fashioning of “The House of Bernarda Alba” 28th December 2025 | Review, Spain
“L’amor venia amb taxi” (Love Arrived By Taxi): La Cubana’s Affectionate Homage to the Catalan Amateur Theatre 28th December 2025 | Review, Spain
Faustin Linyekula’s Missing Bodies: “My body, my archive” at the Aichi Triennale 2025 26th December 2025 | Congo, Festivals, Japan, Review, Theatre and Dance
“El día del Watusi” (The Day of the Watusi): Iván Morales stages Francisco Casavella’s cult novel on Barcelona in transition 26th December 2025 | Review, Spain
Diego Garrido Sanz’s “Violencia” (Violence) at the Centro Dramático Nacional: exploring the possibilities of restorative justice 26th December 2025 | Review, Spain
“El entusiasmo” (The Enthusiasm) at Madrid’s Teatro María Guerrero: Midlife crisis given a makeover in Pablo Remón’s new play 26th December 2025 | Review, Spain
Inside Chicago Court Theatre’s “Berlin”–Turning a Graphic Novel into Live Theatre: An Exclusive Interview with Playwright Mickle Maher 24th December 2025 | Adaptation, Interview, United States of America
“The Phantom Of The Opera” Returns To Mexico: A Reinvented Masterpiece 12th December 2025 | Mexico, Musical Theatre, Review
Witty Revival Of 2022 Pollesch “Liebe, Einfach Außerirdisch” In Berlin 12th December 2025 | Directing, Germany, Review
Dostoevsky on Stage. “The Mutt” by Anoushka Nesterova and Elena Che at the IATI Theater, New York 7th December 2025 | Adaptation, Review, United States of America
A Theatre Of Boredom And Theatrical Distrust (André Gregory, Chekhov And Beckett) 4th December 2025 | Directing, Essay, Transmedia
Biography And Politics: “Der Zauberer Von Öz – Eine Fußballtragödie“ In Bremen 4th December 2025 | Directing, Germany, Review, Theatre and Politics
“A Working Class Hero” – Identity And Class at Voila! Theatre Festival 2nd December 2025 | Acting, Review, Theatre and Politics, United Kingdom
The 12th Dangdai Xiao Juchang Xiqu Jie (Contemporary Black Box Xiqu Festival当代小剧场戏曲节) by Star Theatres (繁星戏剧村) in Beijing 2025 2nd December 2025 | China, Festivals, News
Adaptations On The German Stage (2): “Der Schimmelreiter” In Oldenburg 28th November 2025 | Adaptation, Directing, Germany, Review
“Aşınma” (“Corrosion”): A Solo Masterpiece About The Contemporary Human 23rd November 2025 | Review, Theatre and Politics, Turkey, United Kingdom
“Liebe Mit Taktgefühl” By Barbara Raue-Flajs, At Piccolo Teatro Haventheater, Bremerhaven: Directorial Reflections 20th November 2025 | Directing, Essay, Germany
Thriving in an Either-Or World: An Interview with Taiwan-based Pangcah Theatre Artist Ihot Sinlay Cihek 19th November 2025 | Interview, Playwriting, Taiwan, Theatre and Decolonization
The Filmed Performance “Woodland Bird Woman” – a Collaboration Between Esther Salamon, Robert Laycock And David Stephenson: Between.Pomiędzy Dispersed Festival 2025 9th November 2025 | Poland, Transcultural Collaborations, United Kingdom
Jack Holden’s The Line of Beauty at the Almeida Theatre: A Subtle And Appealing Adaptation Of A Modern Classic 1980s Story 2nd November 2025 | London, Review, Theatre and Politics, United Kingdom
FITPTI – International Festival For Young Audiences 2025 – A Northeastern Romanian Story 31st October 2025 | Festivals, Review, Romania
Tanika Gupta’s “Hedda” at the Orange Tree Theatre: A Fresh And Fascinating Reinterpretation Of A Classic Which Foregrounds The Issues Of Race And Empire 30th October 2025 | Adaptation, London, Review, Theatre and Decolonization, United Kingdom
The Queen of Versailles Musical or the Funeral of the “American dream.” 29th October 2025 | Musical Theatre, Review, United States of America
Adaptations On The German Stage (1): “Sein Oder Nicht Sein” In Bremerhaven 29th October 2025 | Directing, Germany, Review
Meghan Tyler’s “Crocodile Fever” at the Arcola Theatre: Northern Ireland Sisters In A Darkly Funny Anti-Patriarchal Feast Of Symbols 27th October 2025 | Ireland, Playwriting, Review, United Kingdom
Six-Hour Tour De Force “Hamlet” In Hamburg, Directed, With Many Ironic Self-References, By Veteran Legendary Frank Castorf 27th October 2025 | Directing, Germany, Review
LegalAlien’s “The Flowers of Srebrenica”: Theatre as Healing 27th October 2025 | Bosnia, Review, Theatre and Politics
Nick Payne’s “The Unbelievers” at the Royal Court Theatre: Latest Play By A Top New Writer Is Disappointingly Unfocused 26th October 2025 | London, Playwriting, Review, United Kingdom
“All Right. Good Night.:” A Poetic Meditation on the Art of Letting Go 20th October 2025 | Directing, Germany, Review, United States of America
Maestras On The Podium: Women Conductors On Broadway, Then And Now 11th October 2025 | Essay, Musical Theatre, Theatre and Gender, United States of America
“Lale Lili Marleen:” The Promising Relaunch Of A Quaint Chamber Theatre In The Oldest District Of Bremen 10th October 2025 | Directing, Germany, Review
James Graham’s “Punch” at the Apollo Theatre: Compelling And Emotionally Intense Account Of Restorative Justice 30th September 2025 | Documentary Theatre, Review, Theatre and Politics, United Kingdom
“Full Moon” by Josef Nadj at the Festival of International Alternative Theatre (FIAT) in Montenegro 30th September 2025 | Montenegro, Review, Theatre and Dance
Debating Identity: Is It Time to Rename Cairo’s Experimental Theater Festival? 26th September 2025 | Egypt, Essay, Festivals
Conor McPherson’s “The Weir” at the Harold Pinter Theatre: Beautifully Acted Revival Of A 1990s New Writing Classic 26th September 2025 | Acting, Dramaturgy, London, Review, United Kingdom
Cruelty, Guilt, And Redemption Intertwine In “The Mutt” At IATI Theater 19th September 2025 | Adaptation, New York, Review, United States of America
International Project – Dramaturgy Lab: Exploring West Balkan Plays – “Big Deal” By Mia Efremova 17th September 2025 | Dramaturgy, Hong Kong, Interview, Macedonia, Transcultural Collaborations
Theatre Is A University, A Lifelong Study Of Human Nature 15th September 2025 | Acting, Interview, Macedonia
Violence and Therapy: 29th International Shakespeare Festival in Gdańsk, Poland, 2025 11th September 2025 | Festivals, Poland, Review
Lessing’s “Emilia Galotti” As Directorial Debut In Bremen 9th September 2025 | Directing, Germany, Review
Unbound Curation – The Freedom Of Programming Without Frames 5th September 2025 | Belgium, Interview, Management
