With Faith and Trust into the Future: The 10th International Theatre Olympics in Hungary
When the world is engulfed in flames of enmity, would another flame be superfluous? Not if it is...
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Chinese Theatre Abroad
The Envy of Baz Luhrmann: A Parkside “Romeo + Juliet” to Remember
It can be difficult to gain contemporary audience for Shakespearean performance. Though the Bard’s...
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Interview: The “Best Time to Be Alive” and The Reclamation of Identity
On March 17, 2023, New York City’s Bedlam hosted the first industry reading of Best Time to Be...
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Touching the Azerbaijani Theatre: From Ritual to Spontaneity
The term of ritual has always been an object for endless discussions amongst theologians, cultural...
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“Theatre Is King”: The 2023 Kenya Theatre Awards
‘We have approved some funds to our (Kenya Cultural Centre/Kenya National Theatre) very progressive CEO Mr. Mike Opundo, who will make sure that each winner here – each of the 37 winners here – will have a token of a hundred thousand shillings…We want to monetize your talents. We want you to feel that what you’re doing is right and is worth your while.’
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Broadway Bodies: An Interview with Ryan Donovan
Productions of Broadway musicals have body issues. Full stop. From casting norms for Broadway...
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You Came to See the Obscene?—”2020: Obscene”
Alexandra Bachzetsis’s latest group performance, 2020: Obscene, estranges the word obscene from...
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Bjørg Vik’s “The Journey To Venice” At the Finborough Theatre: Norwegian Memory Play Is Tender If Slight
Bjørg Vik’s The Journey to Venice at the Finborough Theatre: Norwegian memory play is tender if slight
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Art and Tech Imaginings of Kat Mustatea
Creating art that reflects our time, Kat Mustatea is a playwright and technologist whose...
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Remembering A Silenced Teacher: Xavier Bobés And Alberto Conejero’s “El Mar. Visión De Unos Niños Que No Lo Han Visto Nunca”/”The Sea. Vision Of Some Children Who Have Never Seen It”
Xavier Bobés is one of those remarkable artists able to conjure a world through a few objects that...
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Speaking from Outside: Interview with Olga Voronkova
Olga Voronkova is a London-based, Belarusian video editor, scriptwriter, copywriter, and producer...
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Matilda Feyiṣayọ Ibini’s “Sleepova” at the Bush Theatre: Rather Predictable, but Fun Show about Coming of Age
Is anyone still nostalgic about their teen years? The coming-of-age drama is a staple of...
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Breaking Down Barriers through Cultural Policies: A Conversation with Artistic Director and Producer Jesús Cimarro
Jesús Cimarro is the current President of the Spanish Academy of Performing Arts (Academia de las...
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“Woman, Life, Freedom: Theatre and Protest in Iran”: A Virtual Roundtable in Honor of World Theatre Day
Dear Friends, Roshan Institute for Persian Studies, The Theatre Times, and the University of...
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Prototype Festival: “Mary Motorhead/Trade” and “In Our Daughter’s Eyes”
It has been so challenging to write these reviews of three recent works presented as part of the...
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Friendship And Its Discontents: Juan Mayorga’s “Amistad”
Juan Mayorga, one of Spain’s most decorated dramatists — a member of Spain’s Spanish Royal Academy...
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Sitting Down with Emerging Artist Thalia Ranjbar
The work of Thalia Ranjbar may be challenging– pushing beyond norms and expectations, but at its...
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Brecht, Kabarett, and Pussy Riot: The Impact of AnomalousCo’s “(beyond) Doomsday Scrolling”
Entering the theatre at HERE Arts, there is already a sense of broken ground. My companion and I...
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