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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France
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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The Musical “Notre Dame de Paris” Returns to the United States
At the turn of the century, in 1998, Luc Plamondon created one of the greatest musicals Notre Dame...
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Farrah El Dibany: First Egyptian and Arab to Perform at Paris Opera
I’m honored to be recognized by Egyptian and French presidents, says El Dibany. Egpytian...
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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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“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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The Power of Reflection in “Portrait Avedon-Baldwin, Entretiens imaginaires” at the Théâtre du Rond Point, Paris
One of France’s greatest prides is the network of African American artists who, in the...
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(Not) Adapting to the French Stage: “Les Producteurs”, Directed by Alexis Michalik, at the Théâtre de Paris
A week after Josephine Baker posthumously entered the French Panthéon, a musical about two...
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A New Staging of Enesco’s “OEdipe” at Paris Opera by Wajdi Mouawad
It’s been nearly 100 years since George Enesco’s Œdipe (Oedipus) was created to much success on...
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Interview with Choreographer-Director Aguibou Bougobali Sanou
Aguibou Bougobali Sanou (known as Bougobali) is a choreographer, performer, and director of the...
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Sinking Ship Production’s “A Hunger Artist” in France
Sinking Ship Productions, a company established in 2008 by Jonathan Levin and Josh Luxenberg has...
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A Memory Palace on Tauris: Reprise of Gluck’s Iphégenie en Tauride at the Paris Opera
Gluck’s Iphégenie en Tauride doesn’t waste any time ushering the viewer into its mystical score....
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Divas Are Forever: Marina Abramović’s “7 Deaths of Maria Callas”
Does a diva ever really die? It’s a fitting question from the reigning queen of endurance art,...
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Playing with “White is Purity” in Pirandello’s “Comme tu me veux”
In 2017, the cosmetics company Nivea released an advert that was promptly pulled: a white woman’s...
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Immersion and Spectator Self-Reckoning: “Boxing Shadows” at the Avignon Theatre Festival
One of the highlights of this year’s Avignon Festival was Boxing Shadows, written especially by...
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Theatre in the Time of Protest: “Glass Menagerie” at the Théâtre de l’Odéon
History, as they say, has a habit of repeating itself. When French theatre-makers seized hold of...
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Democratizing the Theatre-Making Process: “Six Characters in Search of An Author”
To re-open its season after the lifting of COVID-19-related restrictions, Paris’s Théâtre de la...
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“Let Them Do Yeats Next!:” “AURIC” At The Brighton Fringe
AURIC (Songs from a Golden Age) at the Brighton Fringe is a unique aural journey and experience...
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What Will You Do This Summer? On An Interdisciplinary Summer Camp In Warsaw
Krzysztof Warlikowski’s Nowy Theatre in Warsaw together with Komuna/Warszawa, La Comedie de...
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Interview with Jérôme Bel
Part of a generation of choreographers who rose to prominence in the mid-1990s, the French...
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