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Polishness And Its Place in Europe: Polish National… by Kasia Lech 7th January 2021
“A Little Life”: Adaptation and Mixed Reality by Olivia Ek 20th April 2020
Shoebox Musicals: A Story of TikTok, The Pandemic,… by Michael Schweikardt 1st December 2020
Minecraft Plays in Covid Times with Director/Artist… by Melissa Trepa 11th January 2021
Out of the Darkness: A “Visit” with Lighting… by Colden Lamb 10th January 2021
Maintaining Whoville: Interview with Designers Chris… by Colden Lamb 27th December 2020
Afro-Latinidad And The Greater Good Of The Latinx… by Trevor Boffone 12th December 2020
The Rise of the Ridiculous in “Circle… by Timothy L'Ecuyer 6th January 2021
“Darkie” is a Brave One-Man, One-Act Production by Tonderai Chiyindiko 20th March 2020
Surge Madrid 2020: The Nonstop Alternative Theatre Festival by Antonio Hernández Nieto 9th January 2021
Recent Posts
- On sound ecology: “Rainforest V (variation 3)” at Arter 19th January 2021
- The Attakkalari Centre for Movement Arts Reimagines Dance for the Online Medium 18th January 2021
- Cards For Humanity: “Social Alchemix (Live!)” by Wil Petre 17th January 2021
- “The Dybbuk” Or a Play Possessing Audiences for a Century 17th January 2021
- Intriguing and Peculiar Immersive Theater with Grounded Aerial’s “The Insectinside” 16th January 2021
- How to Write a Pandemic Play 15th January 2021
- Choosing the Stories You Tell: An Interview with Kelley Girod 14th January 2021
- A Woman and an Immigrant, but Most of All, a Scientist: Musical “Marie Curie” Review 13th January 2021
- “Mnquma & Ithemba”: African Contemporary Dance-Based Storytelling 12th January 2021
- “S-27” at The Finborough Theatre 11th January 2021