“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
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
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
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
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
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
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
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
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
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
Europe As a Beautiful Mess: An Interview with Heidi Wiley, Executive Director of ETC 26th January 2025 | Interview, Producing, Theatre and Politics
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
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
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
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
The Revolutionary Spirit is Alive in “We Live in Cairo” 27th November 2024 | Musical Theatre, New York, Review, United States of America
“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
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
“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
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
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
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
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
“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
“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
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
“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
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
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
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
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
“Youth Without God;” Unkind, Realistic Reminder 1st July 2024 | Review, Romania, TESZT 2024, Transmedia
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
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
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
Critical Generosity as a Decolonial Praxis 19th June 2024 | Austria, Review, Theatre and Decolonization
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
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
Prominent American Theatre Scholar, Elinor Fuchs, Dies at 91 28th May 2024 | Dramaturgy, New York, News, United States of America
“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
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
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
Igor Vuk Torbica (1987 – 2020) – Balkan “Prince of Theatre” – The third Igor’s Days 13th May 2024 | Directing, Macedonia, Review, Serbia
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
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
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
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
“That Perfect Dark”: Samuel Beckett’s “Company” in Dunedin 19th April 2024 | Adaptation, New Zealand, Review, Worldwide
‘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
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
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