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Imagine/: Artificial Intelligence Comes to Theatrical Design by Michael Schweikardt 17th September 2022 The House Where Phantom Lived—Part I: The Majestic… by Lisa Monde 17th February 2023 Broadway Bodies: An Interview with Ryan Donovan by Trevor Boffone 15th March 2023 “Al Capone the musical” à la Francaise by Lisa Monde 31st January 2023 Art and Tech Imaginings of Kat Mustatea by Alexander Fatouros 10th March 2023 Brecht, Kabarett, and Pussy Riot: The Impact of… by Rhiannon Ling 22nd February 2023 Interview: The “Best Time to Be Alive”… by Melissa Denzer 20th March 2023 Sitting Down with Emerging Artist Thalia Ranjbar by Morgan Skolnik 27th February 2023 Remembering A Silenced Teacher: Xavier Bobés And… by Maria Delgado 8th March 2023 “Woman, Life, Freedom: Theatre and Protest in… by The Theatre Times 5th March 2023
Recent Posts
- With Faith and Trust into the Future: The 10th International Theatre Olympics in Hungary 24th March 2023
- The Envy of Baz Luhrmann: A Parkside “Romeo + Juliet” to Remember 23rd March 2023
- Interview: The “Best Time to Be Alive” and The Reclamation of Identity 20th March 2023
- Touching the Azerbaijani Theatre: From Ritual to Spontaneity 18th March 2023
- “Theatre Is King”: The 2023 Kenya Theatre Awards 17th March 2023
- Broadway Bodies: An Interview with Ryan Donovan 15th March 2023
- You Came to See the Obscene?—”2020: Obscene” 13th March 2023
- Bjørg Vik’s “The Journey To Venice” At the Finborough Theatre: Norwegian Memory Play Is Tender If Slight 13th March 2023
- Art and Tech Imaginings of Kat Mustatea 10th March 2023
- 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” 8th March 2023