Ecce Homo: “The Great Tamer,” By Dimitris Papaioannou. Dance Umbrella Festival 2018, London, Sadler’s Wells
A curved, declivitous, dark-grey hill, built from large, rectangular vinyl blocks–reminiscent of...
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Zadie Smith’s “White Teeth” at The Kiln Theatre
You can see why artistic director Indhu Rubasingham chose to stage this version of Zadie Smith’s...
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Words On The Street: The 36th Edition Of The International Street Theatre Festival In Jelenia Góra
One of the most vivid memories of my childhood is sitting on the ground in a parking lot of my...
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Off The Stage And Into Your Home
“The Stage in the Drawing-Room” is the title of a 19th-century instruction manual by Henry Dakin...
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The Druid “Godot”
To those who feel overexposed to Waiting For Godot—which includes many theater snobs—no...
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Luke Barnes’s “All We Ever Wanted Was Everything” At The Bush Theatre
Sometimes, just sometimes, I see a show which makes me wish that all theatre could be like this. A...
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Dead Centre’s “Chekhov’s First Play”
Also known as Platonov or the Play Without A Title, Chekhov’s first playtext, written when he was...
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The Re-Invention Of Subtitling. A New Technical Approach To The International Market
“Pour bien faire, il faudrait un film qui tournerait la traduction intégrale (de la pièce) à la...
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Telling A Thai Tale: A Dance Dramaturg’s Take
“When I collaborate, I want to collaborate with the wrong person.” Pichet Klunchun, Thai dancer,...
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“While I Was Waiting” Captures The Tragedy Of The Syrian Civil War In Damascus
Review: While I Was Waiting, OzAsia Festival. Unrest breaks out in a proud and ancient city, its...
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Decide How To Decide. Managing Processes In International Interdisciplinary Projects
From observing the creative process of pilot projects and Waag’s expertise in (social) innovation,...
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“Daniel’s Husband” At Westside Theatre
A poignant, topical chamber piece for five characters, Daniel’s Husband commences with two gay...
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“Oedipus Schmoedipus” at HKREP Black Box Theatre
Hong Kong Repertory Theatre (HKREP) has been presenting the biannual International Black Box...
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Theatre Meeting 2018: The Sun As The Last Frontier
With the Shifting Perspectives platform, the Berlin Theatre Meeting brings a selection of the best...
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Traditional Storytelling Meets New Media Activism In Iran
In the summer of 2015, I conducted fieldwork in Tehran and Qom, Iran, with a small team of...
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“Sound Of The Beast” Slams Brutality, Inequality, And Racism
Willow White reviews Donna-Michelle St. Bernard’s one-woman show Sound Of The Beast, produced by...
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It’s Ella Hickson’s Moment (Of Honesty)
How her truth split critics and why she doesn’t really care Ella Hickson stopped worrying...
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Recalling Redfeather: Weaving Through History With Jani Lauzon And Marjorie Chan
Note: Robyn Grant-Moran interviews I Call Myself Princess playwright Jane Lauzon and director...
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Move The Sound! Directing With New Technology
For me, as a director, it is important that the artistic idea and concept emerge from the story...
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“Company” Review, Gielgud Theatre: “You Can’t Imagine It Being Staged Any Other Way Again”
This is a game-changer. “Radical update” is a phrase that is all too often bandied about in...
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