July

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

June

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
Shell…Shocked?

23rd June 2026 | Review, Theatre and Gender, United States of America
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

May

In Pleasant Company: “Girl Dolls”

30th May 2026 | Musical Theatre, Review, United States of America
“Chroniques” by Peeping Tom at Østre Gasværk Teater Copenhagen

28th May 2026 | Belgium, Denmark, Review, Theatre and Dance
“Circle Mirror Transformation”

27th May 2026 | Acting, Italy, Review
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
“The Cherry Orchard”: The Comedy Of Ruins

15th May 2026 | Hungary, Poland, Review
“Broken Melody” at MITEM: A Music That Finds Its Way Home

13th May 2026 | Hungary, Review
“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

April

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
“Frankenstein (History Of Hate)”

23rd April 2026 | Adaptation, Festivals, Italy, Review
“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
“Handle With Care” At Milan’s FOG Festival

22nd April 2026 | Belgium, Festivals, Italy, Review
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
Big Fatuous Giant

10th April 2026 | New York, Review, United States of America
Dog-Gone

9th April 2026 | Adaptation, New York, Review, United States of America
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
Tim Crouch’s “The Tempest” at The Globe

1st April 2026 | London, Review, United Kingdom

March

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
New York City Fringe Begins April 1

25th March 2026 | Featured, Festivals, Interview, New York
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
“Figures In Extinction:” A Dance Trilogy Report

17th March 2026 | Essay, Poland, United Kingdom
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
The Piccolo Theatro’s “Miracle In Milan”

11th March 2026 | Adaptation, Italy, Review
“An Enemy Of The People:” An Oblique Look At Democracy From Schaubühne Berlin

9th March 2026 | Germany, Greece, Review, Theatre and Politics, Transcultural Collaborations
A Beer And A Mop

7th March 2026 | Acting, New York, Playwriting, Review, United States of America
“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
Monster Mash

3rd March 2026 | Acting, New York, Review, United States of America
Isolation, Consumer Desire and the Human Spirit: A Review of “The Chair and the Cello”

2nd March 2026 | Devised Theatre, New Zealand

February

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
“Hamlet²” (“Amleto²”)

17th February 2026 | Adaptation, Italy, Review
The Trans Excellence of Faggotica

13th February 2026 | LGBTQ+ Theatre, New York, Review
“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
Bad Data

4th February 2026 | Playwriting, Review, United States of America
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

January

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
What’s Eating You

20th January 2026 | Acting, Review, United States of America
Sharing Crafts, Or Laboratory Space

12th January 2026 | Essay, Poland, Transcultural Collaborations
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
“With Ruby and I” – review – more McDonagh than Robinson

3rd January 2026 | Review, United Kingdom
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

December

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
Tom Block Sparks Arts Activists

11th December 2025 | Festivals, LGBTQ+ Theatre, New York
Emma Dante’s “The Angel of the Hearth”

10th December 2025 | Italy, Review, Theatre and Gender
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

November

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
Evil Can Appear Beautiful

23rd November 2025 | Adaptation, Italy, Review
#Me Too Oedipus

20th November 2025 | Adaptation, Review, United States of America
“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
Dimension Zero: All Judy, No Punch

17th November 2025 | New York, Puppetry, Review
Dupes of Hazard

16th November 2025 | Review, Theatre and Politics, United States of America
Nearly Finished

15th November 2025 | Acting, Review, United States of America
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
3sisters at the Novi Sad Theatre

7th November 2025 | Adaptation, Review, Serbia
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
Checking The Boxes

1st November 2025 | Review, Theatre and Politics, United States of America

October

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
Barbarians in Midtown

22nd October 2025 | Musical Theatre, Review, United States of America
“All Right. Good Night.:” A Poetic Meditation on the Art of Letting Go

20th October 2025 | Directing, Germany, Review, United States of America
Bloody Ignorant Apes

15th October 2025 | Directing, Review, United States of America
Taking A Hit

14th October 2025 | Adaptation, 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
Welcome To The Machine

5th October 2025 | Review, Theatre and Politics, United States of America

September

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

August

“Tired” Of Consuming Postdramatic Theatre (Contemporary Theatre Often Lacks Strong Dialogue)

31st August 2025 | Austria, Dramaturgy, Interview, Macedonia
Shakespeare In The Park At The New Delacorte Theater: Love Is Gender Fluid

30th August 2025 | New York, Review, Theatre and Politics, United States of America
To Embrace Vulnerability As One Of My Greatest Strengths (Stronger, Braver, Vulnerable)

28th August 2025 | Acting, Interview, Macedonia
Edinburgh Festival Fringe 2025 in 22 Shows

28th August 2025 | Edinburgh 2025, Review, United Kingdom
“When Billy Met Alasdair” At The Scottish Storytelling Centre, Edinburgh Festival Fringe 2025

27th August 2025 | Edinburgh 2025, Review, United Kingdom
I Hold On To The Beautiful Side Of Theatre

27th August 2025 | Directing, Interview, Macedonia
We Passed Through The Wall Of Sorrow Together

26th August 2025 | Essay, Iran, Theatre and Politics
Edinburgh Festival Fringe 2025: Provisional Futures in a World on Fire

25th August 2025 | Edinburgh 2025, Essay, Theatre and Politics, United Kingdom
German Summer Festival Theatre (2): Domfestspiele Verden, “Die Zündholzfrau”

25th August 2025 | Festivals, Germany, Review
“No Apologies” by Emma Frankland, Edinburgh Festival Fringe 2025

25th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
“The Ego” by Anemone Valcke and Verona Verbakel, Edinburgh Festival Fringe 2025

25th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
“Riot Days” by Pussy Riot, Edinburgh Festival Fringe 2025

25th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
“Thanks for Being Here” by Ontroerend Goed, Edinburgh Festival Fringe 2025

25th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
German Summer Festival Theatre (1): Theatersommer Wismar, Brecht/Weill The Threepenny Opera

24th August 2025 | Festivals, Germany, Review
“Aether”, Edinburgh Festival Fringe 2025

24th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
“Little Bulb: Listen Dance”, Edinburgh Festival Fringe 2025

24th August 2025 | Edinburgh 2025, Festivals, Review, United Kingdom
“The Butterfly Who Flew Into The Rave”, Edinburgh Festival Fringe 2025

24th August 2025 | Edinburgh 2025, Festivals, New Zealand, United Kingdom
Duncan Macmillan’s Every Brilliant Thing at @Sohoplace: Moving Mixture Of Joyous Theatricality And Serious Mental Health Themes

23rd August 2025 | Playwriting, Review, United Kingdom
“A Poem And A Mistake,” Edinburgh Festival Fringe 2025

19th August 2025 | Edinburgh 2025, Review, Theatre and Gender, United Kingdom
“Works And Days” By The Fc Bergman Collective, Edinburgh International Festival

19th August 2025 | Belgium, Edinburgh 2025, Review, United Kingdom
“Wild Thing!” By Mechanimal, Edinburgh Festival Fringe 2025

19th August 2025 | Edinburgh 2025, Review, Theatre and Science, United Kingdom
Sam Kissajukian’s “Three Hundred Paintings,” Edinburgh Festival Fringe 2025

19th August 2025 | Australia, Edinburgh 2025, Review, United Kingdom
Mohamed El Khatib’s “La Vie Sècrete Des Vieux”: a Poetics of Attentive Listening

18th August 2025 | Finland, France, Review, Tampere Theatre Festival 2025
“Make It Happen,” Edinburgh Festival Theatre 2025

18th August 2025 | Edinburgh 2025, Review, Scotland, United Kingdom
“Suburbia,” Written And Performed By Jonny Woo, Edinburgh Festival Fringe 2025

18th August 2025 | Edinburgh 2025, Review, Theatre and Gender, United Kingdom
“Cassandra,” Written And Performed By Ailsa Dixon, Edinburgh Festival Fringe

14th August 2025 | Edinburgh 2025, Review, Scotland, Theatre and Gender
Karis Kelly’s “Consumed” At The Traverse Theatre, Edinburgh Festival Fringe

14th August 2025 | Edinburgh 2025, Review, United Kingdom
“A Gambler’s Guide To Dying” Set In Glasgow’s Gorbals, Edinburgh Festival Fringe

14th August 2025 | Edinburgh 2025, Review, Scotland
“Athens Of The North” at the Scottish Storytelling Centre, Edinburgh Festival Fringe

13th August 2025 | Edinburgh 2025, Review, Scotland
“Buen Camino,” Edinburgh Festival Fringe 2025

13th August 2025 | Edinburgh 2025, Review, Scotland, United States of America
Gotta Spoof ‘Em All: “Balls: The Monster-Catchin’ Musical Comedy” Parodies Pokémon in NYC

13th August 2025 | Musical Theatre, New York, United States of America
Tampere Theatre Festival 2025: Worlds in Miniature

11th August 2025 | Festivals, Finland, Review, Tampere Theatre Festival 2025
Flightless, Caged “Angels In America”

10th August 2025 | Poland, Review, Theatre and Science
Barcelona’s 2025 Grec Festival: “The Performing Arts as a Critical and Poetic Tool”

6th August 2025 | Festivals, Review, Spain
The TikTok-isation Of Theatre? – “Dziewczyna, Która Podeptała Chleb”

6th August 2025 | Poland, Review, Theatre and Religion
“Trilogia Cadela Força – Capítulo II: The Brotherhood.” Review. Holland Festival 2025.

6th August 2025 | Holland Festival 2025, Netherlands, Review
“From Dust.” Another Review. Holland Festival 2025.

6th August 2025 | Holland Festival 2025, Netherlands, Review, Theatre and AI
“From Dust.” Review. Holland Festival 2025.

6th August 2025 | Holland Festival 2025, Netherlands, Review, Theatre and AI
“Welcome to Asbestos Hall.” Review. Part II. Holland Festival 2025.

6th August 2025 | Holland Festival 2025, Netherlands, Review
“Welcome to Asbestos Hall.” Review. Part I. Holland Festival 2025.

6th August 2025 | Holland Festival 2025, Netherlands, Review
“Swan Song”: Between Prophecy and Epitaph

5th August 2025 | Adaptation, Azerbaijan, Review, Theatre and Politics
Mark Rosenblatt’s “Giant” in Barcelona

5th August 2025 | Festivals, Review, Spain
Who’s Afraid of the Public? Reports from the Daehangno X Forum on the Shut-Down of TheatreIn

4th August 2025 | Featured, Management, News, South Korea, Theatre and Gender, Theatre and Politics
Decolonizing Iraqi Theatre: Why We Need to Stop Quoting the West

3rd August 2025 | Essay, Iraq, Theatre and Decolonization
Jake Brunger’s Four Play at the King’s Head Theatre: Delicious Mix Of Laughter And Provocation In A Sex Comedy Of Manners

2nd August 2025 | London, Review, United Kingdom
Between Life And Death: A Festival’s Journey Through Tragedy [Part II]

1st August 2025 | Bulgaria, Festivals, Transcultural Collaborations
Between Life And Death: A Festival’s Journey Through Tragedy [Part I]

1st August 2025 | Bulgaria, Festivals, Transcultural Collaborations

July

An Exploration Through The Convoluted Layers Of “Blind Runner”

30th July 2025 | Review, Theatre and Politics, United States of America, Worldwide
Mark St Germain’s “Dancing Lessons” At Boulevard Münster In The Context Of The Ongoing Comedy Theatre Tradition In Germany

28th July 2025 | Germany, Management, Review
Ambiguous Space: A Review of the Chinese Play “L’histoire d’un Accident” at Avignon 2025

26th July 2025 | Avignon 2025, China, Chinese Theatre Abroad, Design, Review
Chinese Traditional Theatre in the UK: Interview with Joanna Zenghui Qiu on the 10th Anniversary of the UK Chinese Opera Association

24th July 2025 | China, Chinese Theatre Abroad, News, Theatre and Opera
“Pirates! The Penzance Musical.” An Exclusive Interview with Ramin Karimloo – The “glorious” Pirate King.

22nd July 2025 | Interview, Musical Theatre, United States of America
Romeo Castellucci’s “The Potato Eaters” at the Venice Theatre Biennale

20th July 2025 | Festivals, Immersive Theatre, Italy, Review
School Camp

19th July 2025 | Review, Theatre and Gender, United States of America
Willem Dafoe, Artistic Director Of The 2025 Theatre Biennale – 31 May To 15 June. The Opening Show: “Symphony Of Rats”

16th July 2025 | Festivals, Italy, Review, Transmedia, United States of America
29th International Shakespeare Festival runs in Gdańsk (Poland) from 25 July to 3 August

10th July 2025 | Festivals, News, Poland
Theatres In Tehran Rise From The Ruins Of The Iran-Israel War

10th July 2025 | Iran, News, Theatre and Politics
Annie Jin Wang on Opera Dramaturgy

10th July 2025 | Dramaturgy, Interview, Theatre and Opera, United States of America
Rock Opera and Musical Theatre. An exclusive interview with Lenny Kaye

7th July 2025 | Interview, Musical Theatre, Transcultural Collaborations, United States of America
George Bernard Shaw’s Mrs Warren’s Profession at the Garrick Theatre: Slimmed Down Revival Of A Classic About The Woman Question Stars Imelda Staunton

6th July 2025 | Playwriting, Review, Theatre and Gender, United Kingdom
“The Gilded Age” Season 3 Casting Secrets

6th July 2025 | Directing, Interview, Los Angeles, New York, News, Theatre and Film, United States of America
Off-Limits Love: Abby Rosebrock’s “Lowcountry,” A New Play at the Atlantic Theater

4th July 2025 | Review, Theatre and Politics, United States of America
Fix+Foxy’s “A Doll’s House” by Henrik Ibsen: A Playful Study in Radical Intimacy

2nd July 2025 | Adaptation, Denmark, Review

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