Mukha Mugam Returns to the Stage with “The View From Above,” A Macbeth-Inspired Political Satire
For most of the last two years, Bengaluru-based actor and playwright Spatica Ramanujam was feeling...
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“Anything & Everything” Gives Us a Glance Into the Lives Teenagers are Constructing Online
Review: Anything & Everything, Platform Arts, infinity ensemble for Rising. Anything &...
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“Shadow Boxing” at Baxter Masambe Theatre
SHADOW BOXING. Director/Choreographer: Mdu Kweyama. Cast: Daniel Newton. Masambe Theatre at the...
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“Borderland, maldita cabeza,” Mental Health Debate Enters into the Limits of a New Opera
A contemporary opera has conquered one of the oldest and prettiest theaters in Spain. It is titled...
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A New Translation of Molière’s “Dom Juan” for the 21st Century
A Preview of a new translation of Molière’s Dom Juan for the 21st century by Gideon Lester and...
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LMDA Launches New Access Initiatives
I began my tenure as Chair of the LMDA Conference during the early days of COVID. This was back...
Read MoreWe’ll Meet Again: Review
We’ll Meet Again Richard Loring’s nostalgic musical tribute to World War II. Director/Set design: Barry Altwig. Lighting: Barry Strick. Sound: Trevor Lind. Music Direction/Choreography: Tersia Harley. Presented by...
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With Nine Broadway Musicals Currently on Australian Stages, Musical Theatre is Thriving Again
With nine Broadway musicals currently playing on Australian stages – and a further three set to...
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“Lotus Beauty,” Hampstead Theatre
Theatre is slowly recovering from the effects of the pandemic, and many shows which were canceled...
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From a Position of Perspectives: An Interview with Patrice Pavis
There is always a cultural gap between scholars and artists, each group being suspicious of the...
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Chennai Theatre Veteran PC Ramakrishna Turns Author with “Find Your Voice”
Theatre veteran PC Ramakrishna turns author with Find Your Voice, a guide on how to navigate a...
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With the Hope to Make Telugu Theater a Sustainable Career Option
Production-oriented workshops culminate in ticketed Telugu plays in Hyderabad. A manager by day...
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“House of Ife,” Bush Theatre
In the past, most plays by black-British writers have been about the legacy of the Windrush...
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The Meaning of Theater: Slava Stepnov’s “Flawed Choir” at the Steps Theatre
“All the world’s a stage,” says a character in William Shakespeare’s “As You Like It.” “Life...
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When City Streets Record Fading Performance Traditions
Attired in a crisp white dhoti with a red zari border, bleached white shirt and angavastram, one...
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Black Second-Act Problems: “Black No More” by The New Group
In my time as a critic I’ve noticed on numerous occasions that musicals rooted in political...
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“The Haunting of Susan A” at The King’s Head Theatre
Konrad: Hello, I’m Konrad. I’m here to share an account of the production of Mark Ravenhill’s The...
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Director Maria Mileaf and Actor Aline Salloum on Oren Safdie’s High School Crush Gone Sideways, “Gratitude”
Gratitude, by Oren Safdie, directed by Maria Mileaf, and starring Jalen Ford, Jake Bryan Guthrie,...
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The Beast is Back: Radiotheatre’s Live Audio Play “King Kong”
Since its original 1933 film debut, the story of King Kong has become a mainstay of America’s, and...
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Frenemies and Freedom: “Confederates,” Signature Theatre
Dominique Morisseau is aware that most of her fans see her as a predominantly naturalistic...
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Gilbert Gottfried and the Mechanics of Crafting One of the Most Memorable Voices of All Time
Though Gilbert Gottfried’s voice has alternatively been described as “shrill,” “annoying” and...
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“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance) – PART II
This is Part II of the essay. To read Part I, click here. 8. (ON A-HUMANISM, AGAIN) A-humanism is...
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“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance) – PART I
(A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance)[1]With...
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Fresh “Ham” at the Public
Fat Ham arrives at the Public Theater for its first live production following the Zoom staging by...
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Mohamed Sobhy’s “Nogoum El-Dohr” Continues Successful Run
Egyptian actor and director Mohamed Sobhy is celebrating the success of his latest theatrical play...
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From the Moscow Stage to Monroe and De Niro: How the Method Defined 20th-Century Acting
When an actor is criticized for peculiarly excessive preparation for a role, or an inability to...
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“Sky of Darkness” Comes to NYC: A Chinese Reimagination of “Heart of Darkness” in Our Neocolonial World
Sky of Darkness is enjoying its US premiere June 2-12 at Theaterlab in Midtown Manhattan. The...
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Liverpool Arab Arts Festival Returns to In-Person Format
Celebrating Arab culture, the Liverpool Arab Arts Festival (LAAF) is gearing up for its upcoming...
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Missing Mason Jars —”Take Me Out,” Second Stage
Walking out of the spiffy new production of Richard Greenberg’s Take Me Out, my canny friend Tom,...
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“Legend of The Waitress & The Robber” – A Korean American Cross Cultural Collaboration Makes it to New York City
The Legend of The Waitress & The Robber, a new musical theater piece by Renee Philippi, a...
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Mikhoels by Freud: “The Singing Windmills” by Roman Freud and the PM Theater Company
Why do we still remember theater that became history many decades ago? How do we remember plays...
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South Australia’s Limestone Coast Was Formed from the Bones of Dead Fish. “Cathedral” Brings the Story of These Caves to the Stage
Review: Cathedral, directed by Shannon Rush for the State Theatre Company of South Australia...
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Learning Curve—”How I Learned to Drive,” Manhattan Theatre Club
Paula Vogel’s How I Learned to Drive is, famously, the play that blew the lid off the subject of...
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EPIC Players Creates Employment and Training Opportunities for Autistic & Neurodivergent Theatre Makers
Autistic adults in the United States are unemployed at estimated rates of more than 80%. Those who...
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“Son of Byblos” Brings a Nuanced and Powerful Understanding of Lebanese Family Life to the Australian Stage
Review: Son of Byblos, directed by Anna Jahjah for Brave New World Theatre Company The downstairs...
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Belgian Premiere of “Molly Bloom” in Ghent
In 1999, Viviane De Muynck and Jan Lauwers set to work with the last chapter of James...
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“The Burnt City,” One Cartridge Place
Punchdrunk theatre, the eponymous progenitors of “immersive theatre,” have been wowing...
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Interactive Map: “Theatre and Decolonization” at “The Theatre Times”
Over the years, our contributors have been addressing the topic of decolonization in theatre and...
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“Abril imaginario”: One Step Beyond Immersive and Collaborative Theater
It is the second time that Los números imaginarios (The imaginary numbers), a Spanish company of...
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“The Legend of the Waitress & the Robber”: World Premiere of NYC-Seoul Collaboration Inspired by Schiller and Hong Gildong
The Legend of The Waitress & The Robber is a collaboration between the Korean theatre...
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From Uruguay to Auroville: Clowning Duo Brings Physicality and Humour to the Stage
At Adishakti Theatre’s Remembering Veenapani festival, a clowning troupe from Uruguay...
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Ivo van Hove’s “Age of Rage” at Barbican
Ivo van Hove’s production of Age of Rage is sourced from six plays by Euripides and one by...
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“Theater Now Is Important, It Gives People the Feeling that They Are Not Alone”: An Interview with the Ukrainian Playwright Andriy Bondarenko
Andriy Bondarenko is the dramaturg of the Puppet Theater in Lviv, Ukraine, where he lives, but he...
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“Stay Woke” Reminded Me of The Importance of Telling Stories of Injustice by Those Most Affected by It
Review: Stay Woke, by Aran Thangaratnam, directed by Bridget Balodis. The lingering smell of...
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“Black Boy,” or What to Do with the White Theatre Critic
What do you do when you are blown away by a show, and yet you know that there is something...
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Why Costume Design Is a Snapshot of Hong Kong Life
This story is part of a collaboration between Zolima CityMag and the Hong Kong Design Centre’s new...
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Gregg Mozgala, Broadway Actor Organizes Festival Celebrating Deaf/Disabled Artists
Actor Gregg Mozgala describes himself as a “Triple Threat: “Actor, Writer, Cripple.” The...
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“Russia Is My Country, Who Better Than Me to Clean Up the Ruins of Our Humanity:” Interview with Elena Kovalskaya – Part II
This is Part II of the two-part interview. To read Part I, click here. Yana Meerzon: Should we...
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“Russia Is My Country, Who Better Than Me to Clean Up the Ruins of Our Humanity”: Interview with Elena Kovalskaya – Part I
Russia is my country, who better than me to clean up the ruins of our humanity. – Elena...
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Daniela Bershan and Others — “OCEAN”
OCEAN, or the touch of a relational lifeworld Sometimes, a performance, a work of art, reveals its...
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