Honey, I’m Home! — Robert Icke’s “Oresteia”
If nothing else, you have to admire the chutzpah of Robert Icke’s Oresteia, which tries to...
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Directing
Leveling Effects: Matthew Spangler’s Adaptation of “The Kite Runner”
Khaled Hosseini’s 2003 novel The Kite Runner is a vividly descriptive and often gripping tale of...
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Sacrament of the Sea: Houseworld’s “Bottom of the Ocean”
Whispering the word BOTO into the speakeasy-style window of a door, I felt a sense of trepidation,...
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Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part II
This is Part 2 of the bipartite report. To read Part 1, click here. Anaïs Nin au Miroir, written...
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Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part I
I arrived at the 2022 Avignon Theatre Festival seeking emotional rejuvenation after two years of...
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A Director Needs “to Practice What They Preach”: An Interview with Milosh Andonovski, Theatre Director and Educator
Milosh Andonovski (1989) was born in Kumanovo, North Macedonia. He graduated Comparative...
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“Bangers,” Soho Theatre
Is gig theater the latest sugar rush? Okay, it ups the brain’s serotonin levels and charges around...
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Barcelona Art Scene: “Next to Normal Immersive” at Grec 2022 Festival
Set at Barcelona’s IDEAL Digital Arts Center and crafted by British director Simon Pittman, “Next...
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Comfort in the Unknown: SOCIETY’s “The Strangers Came Today”
How is theater like a support group? This question struck me upon entering The Strangers Came...
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“On the Verge of Tragedy and Farce”: An Interview with Dmitry Krymov
Dmitry Krymov: artist, director, stage designer, teacher. The son of two of the great theatrical...
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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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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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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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The Revolution of Tragedies: An Interview with Romanian Director Andrei Majeri
During the very agonic and snail-slow, first foggy year under COVID of 2020, I met theater...
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Ambiguity and Amorality: Is Douglas Stewart’s “Ned Kelly” One of Australia’s Great Forgotten Plays?
In 1943, Dolia Ribush, a Russian-speaking Latvian theatre director of medium height and...
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Bell Shakespeare’s “Hamlet” Highlights the “Claustrophobic Personal Dynamics” of Shakespeare’s Play
In a speech to the United Kingdom’s House of Commons on March 9, Ukrainian President Volodymyr...
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“The Human Voice” at Harold Pinter Theatre
Is there really such a thing as an unmissable show? Depends on your taste of course, but for sheer...
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“Red Pitch”, Bush Theatre
Football stories are never just about a game — they are also about life and how to live it. In...
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“The Forest,” Hampstead Theatre
Let’s start with stereotypes: British theater is naturalistic, down-to-earth and explains...
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Dmitry Krymov Plumbs the Depths of Memory (part 2)
This is part 2 of a piece on Dmitry Krymov’s Everyone Is Here. For part 1, click here. Along...
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