
North America


How I Met TheTheatreTimes.com

Review: “UnTuned” (Golvareh)



Performing Shakespeare in the Era of COVID-19

Battery Dance Festival+: Canadian Voices in Dance

Online Acting Classes? Here Are the Pros and Cons



Review: Tarragon Theatre’s “Orestes” by Rick Roberts


For Youth, Theatre is Action






Invisible Diaries: Lay Your Burdens Down Day



Invisible Diaries: Who Is That Masked Man?

Invisible Diaries: Sympathetic Magic





Review of Porte Parole’s “The Assembly – Montreal”



“5 O’clock Bells:” The Story of Lenny Breau




Well-Executed “Waitress” Hampered by Poor Sound





“Casablanca:” We’ll Always Have the Radio!!!







“Oleanna’s” Take on Sexual Harassment Holds Up Well



“Happy Days” at Theatre Kingston

GCTC’S “Bang Bang”: A Fast-Paced, Funny Satire



Mòshkamo: “Finding Wolastoq Voice”

“Asking For It” at 1000 Islands Theatre





“The Unnatural and Accidental Women” in Ottawa


“The Ugly One:” Re-adaptation Attempts Face-Lift























2 Sherlock Holmes Adventures

The Toronto Theatre Laboratory

















“Albumen”: A Living Hotblooded Art Piece






A Feminist Documentary Play From Toronto: “Grace”




Undercurrents Festival: Bark And Lots Of Bite




Review: Who Needs To Be Reminded “We Are Not Alone”?






“After The Fire’s” Wit And Rage Is Incendiary

“Deer Woman” Is A Work Of Immense Power And Artistry

Artistic Director Eric Coates remaking GCTC










Solo 70: Dance Is A Mechanism For Letting Go

“The Drowning Girls”: A Story Of Misogyny And Murder






Peter Hinton’s Return To The NAC Stage


“Fierce” Offers A Believable Portrayal Of Loneliness

“The Virgin Trial”: A Gritty Political Crime Drama


“Fierce” Premise Hard To Buy





B+ For Broadway Across Canada’s “School Of Rock”


Ottawa Little Theatre’s Two Paws Up For “Sylvia”






Review: “Julius Caesar” At The Stratford Festival


The Gladstone Celebrates A Decade Of Drama

Review: “Sisters” At Soulpepper Theatre


“The Tempest” At The Stratford Festival


Seana Mckenna Shines As Julius Caesar At Stratford



“I Don’t See Race” And Other White Lies

“Orlando” At Soulpepper Theatre




“Don’t Read The Comments” (Montreal Fringe)










A Reboot Of “Doctor Faustus” For The Cyber Age






“Wicked”–North American Tour




“#Faustus” At Arts Court Theatre


“Anjou”: Lady Chamberlain





Review: “An Ideal Husband” At The Stratford Festival

Review: “The Music Man” At The Stratford Festival











All Love for “Black Boys’” Black On Black Love


“Up To Low” Has Universal Appeal!


“Dissidents” At ARC

“BANG BANG” Is Equal Parts Disarming And Disturbing



Foster On Aging: Amusing But Often Tasteless

“Snake Oil”: A Thought Provoking Show









The NAC Comes Up Trumps With “carried away”


“Idomeneus”: Digging For Truth In Myth






On Words In Motion: “Brodsky/Baryshnikov”












Tracing With Body And Music In Jeff Ho’s “Trace”

Sitting With Amanda Parris’ “Other Side Of The Game”



Fresh Takes On Fresh Meat, Part 1






Edmonton Fringe: Political and Physical



“In Sundry Languages” Is A Feast for the Ears








“Come From Away” – New Canadian Musical on Broadway





“Concord Floral” at Canadian Stage

Olivier Kemeid’s “The Aeneid” at Stratford Festival
The Meaning of Theater: Slava Stepnov’s “Flawed Choir” at the Steps Theatre
by Vassili Schedrin | Jun 17, 2022 | Dramaturgy, New York, Playwriting, Review, United States of America | 0
“All the world’s a stage,” says a character in William Shakespeare’s “As You Like It.” “Life...
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The Beast is Back: Radiotheatre’s Live Audio Play “King Kong”
by Emily Cordes | Jun 12, 2022 | Adaptation, Review, Transmedia, United States of America | 0
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The Meaning of Theater: Slava Stepnov’s “Flawed Choir” at the Steps Theatre
by Vassili Schedrin | Jun 17, 2022 | Dramaturgy, New York, Playwriting, Review, United States of America | 0
“All the world’s a stage,” says a character in William Shakespeare’s “As You Like It.” “Life...
On the Basis of Sustainability: Artemisia Theatre’s “Goods”
by Rhiannon Ling | Jun 16, 2021 | Chicago, Review, Theatre and Film, United States of America | 0
“I meant to do something about it, but I didn’t.” So goes the refrain when we, as flawed human...
“(It’s Been 76 Years and We’re) Still Waiting for Lefty” – Theatre Unleashed at Hollywood Fringe Festival
by Christine Deitner | Sep 5, 2021 | Los Angeles, Review, United States of America | 1
Seventy-six years after Clifford Odets’ Waiting for Lefty premiered in New York, Theatre Unleashed...
Radical Representation: “Hi, Are You Single” Engages and Triumphs
by Taurie Kinoshita | Feb 24, 2021 | Hawaii, LGBTQ Theatre, Review, Theatre and Disability, United States of America | 0
Hypnotically charming, exquisitely flamboyant and the very embodiment of wit, Ryan J. Haddad wrote...
Realities Blend Together in Arlekin Players’ “Witness”
by Alexander Fatouros | Jan 3, 2022 | Boston, Review, Theatre and Art, Transmedia, United States of America | 0
A daring and nuanced documentary virtual theatre piece about Jewish refugees fleeing Nazi Germany...
Perceptions of Each Other’s Cultures: Open Letter to an American Theater Critic
by Henrik Eger | Aug 19, 2019 | Philadelphia, Transcultural Collaborations, United Kingdom, United States of America | 1
Most theater productions will never become available again, no matter how great the quality,...
Kennedy Center Dramaturgy Intensive 2021 Retrospective
by Suzi Elnaggar | Jan 13, 2022 | Covid-19, Dramaturgy, Mexico, Review, United States of America | 0
In the face of many challenges in Summer 2021, The John F. Kennedy Center for the Performing Arts...
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“Black Dove” – Chekhov in Mexico
by Antonio Hernández Nieto | Mar 31, 2021 | Mexico, Review, Russian Theatre Abroad | 0
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“Chicago:” Presenting Crime as a Show
by Lorena Meeser | Jan 13, 2020 | Mexico, Musical Theatre, Review, Theatre and Dance | 0
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“Distancias Cortas” (Short Distances): Four Spaces, Four Moments
by Lorena Meeser | Sep 23, 2019 | Adaptation, Immersive Theatre, Mexico, Review | 0
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Of Blood and Metaphors: Bárbara Colio’s “Casi Transilvania”
by Margarita Vargas | Jun 11, 2019 | Mexico, Review | 0
Once Upon A Time In BIM: A Theatre Resuscitation In The Time Of COVID-19
by Alvina Ruprecht | Dec 26, 2020 | Barbados, Covid-19, Review | 0
Independence in Barbados is not without its many activities in celebration. We are accustomed to...
Performative States In Cuba: Coco Fusco In Conversation With Stephanie Bailey
by Stephanie Bailey | Sep 18, 2017 | Cuba, Interview, United States of America | 0
In this conversation, Cuban-American interdisciplinary artist and writer Coco Fusco talks about...
READ ALL FROM NORTH AMERICA
The Meaning of Theater: Slava Stepnov’s “Flawed Choir” at the Steps Theatre
by Vassili Schedrin | Jun 17, 2022 | Dramaturgy, New York, Playwriting, Review, United States of America
“All the world’s a stage,” says a character in William Shakespeare’s “As You Like It.” “Life...
Read MoreBlack Second-Act Problems: “Black No More” by The New Group
by Jonathan Kalb | Jun 15, 2022 | Musical Theatre, Review, Theatre and Decolonization, United States of America
In my time as a critic I’ve noticed on numerous occasions that musicals rooted in political...
Read MoreDirector Maria Mileaf and Actor Aline Salloum on Oren Safdie’s High School Crush Gone Sideways, “Gratitude”
by Fareeda Pyracha Ahmed | Jun 13, 2022 | Acting, Directing, Interview, New York, United States of America
Gratitude, by Oren Safdie, directed by Maria Mileaf, and starring Jalen Ford, Jake Bryan Guthrie,...
Read MoreThe Beast is Back: Radiotheatre’s Live Audio Play “King Kong”
by Emily Cordes | Jun 12, 2022 | Adaptation, Review, Transmedia, United States of America
Since its original 1933 film debut, the story of King Kong has become a mainstay of America’s, and...
Read MoreFrenemies and Freedom: “Confederates,” Signature Theatre
by Jonathan Kalb | Jun 11, 2022 | Review, Theatre and Decolonization, Theatre and Gender, United States of America
Dominique Morisseau is aware that most of her fans see her as a predominantly naturalistic...
Read MoreGilbert Gottfried and the Mechanics of Crafting One of the Most Memorable Voices of All Time
by Erica Tobolski | Jun 10, 2022 | Acting, Essay, Transmedia, United States of America
Though Gilbert Gottfried’s voice has alternatively been described as “shrill,” “annoying” and...
Read MoreFresh “Ham” at the Public
by Jack Wernick | Jun 7, 2022 | Adaptation, Review, Theatre and Decolonization, United States of America
Fat Ham arrives at the Public Theater for its first live production following the Zoom staging by...
Read MoreFrom the Moscow Stage to Monroe and De Niro: How the Method Defined 20th-Century Acting
by Adrian Danks | Jun 5, 2022 | Acting, Books, Essay, United States of America
When an actor is criticized for peculiarly excessive preparation for a role, or an inability to...
Read More“Sky of Darkness” Comes to NYC: A Chinese Reimagination of “Heart of Darkness” in Our Neocolonial World
by Siting Yang | Jun 4, 2022 | Adaptation, China, New York, News, Theatre and Decolonization, United States of America
Sky of Darkness is enjoying its US premiere June 2-12 at Theaterlab in Midtown Manhattan. The...
Read MoreMissing Mason Jars —”Take Me Out,” Second Stage
by Jonathan Kalb | Jun 2, 2022 | LGBTQ Theatre, Playwriting, Review, United States of America
Walking out of the spiffy new production of Richard Greenberg’s Take Me Out, my canny friend Tom,...
Read More“Legend of The Waitress & The Robber” – A Korean American Cross Cultural Collaboration Makes it to New York City
by Philippa Wehle | Jun 1, 2022 | Musical Theatre, New York, Review, South Korea, Theatre and Politics, United States of America
The Legend of The Waitress & The Robber, a new musical theater piece by Renee Philippi, a...
Read MoreMikhoels by Freud: “The Singing Windmills” by Roman Freud and the PM Theater Company
by Vassili Schedrin | May 31, 2022 | Directing, News, Playwriting, Russia, United States of America
Why do we still remember theater that became history many decades ago? How do we remember plays...
Read MoreLearning Curve—”How I Learned to Drive,” Manhattan Theatre Club
by Jonathan Kalb | May 29, 2022 | Review, Theatre and Gender, United States of America
Paula Vogel’s How I Learned to Drive is, famously, the play that blew the lid off the subject of...
Read MoreEPIC Players Creates Employment and Training Opportunities for Autistic & Neurodivergent Theatre Makers
by Jenna Lourenco | May 28, 2022 | Education, Musical Theatre, New York, News, Theatre and Disability, United States of America
Autistic adults in the United States are unemployed at estimated rates of more than 80%. Those who...
Read More“The Legend of the Waitress & the Robber”: World Premiere of NYC-Seoul Collaboration Inspired by Schiller and Hong Gildong
by Walter Byongsok Chon | May 21, 2022 | Interview, New York, South Korea, Transcultural Collaborations, United States of America
The Legend of The Waitress & The Robber is a collaboration between the Korean theatre...
Read MoreGregg Mozgala, Broadway Actor Organizes Festival Celebrating Deaf/Disabled Artists
by The Theatre Times | May 14, 2022 | Festivals, Interview, New York, Theatre and Disability, United States of America
Actor Gregg Mozgala describes himself as a “Triple Threat: “Actor, Writer, Cripple.” The...
Read MoreHonesty and Experience: Interview with Deirdre V. Lyons, Actress, VR-Actress and Producer
by Ágnes Bakk | Apr 30, 2022 | Immersive Theatre, Interview, Transmedia, United States of America
Deirdre V. Lyons is currently living in Los Angeles and has been in over 75 Film and Theatrical...
Read MoreEmbrace All of Me: Jocelyn Kuritsky’s “A Simple Herstory”
by Emily Cordes | Apr 21, 2022 | Producing, Review, Theatre and Gender, United States of America
The last several decades of U.S. history have seen a remarkable upswing in women’s political...
Read MoreOracle of Pop Art Affirmed in “Chasing Andy Warhol”
by Alexander Fatouros | Apr 17, 2022 | Immersive Theatre, New York, Review, Theatre and Art, United States of America
Utilizing downtown Manhattan’s East Village and NoHo as a set, Bated Breath Theatre Company’s...
Read MoreMet Opera Actors Wink at Velazquez’s Well-known Painting
by Daily Sabah | Apr 16, 2022 | New York, Theatre and Art, Theatre and Opera, United States of America
It is “Don Carlos” season at the Metropolitan Opera in New York City, with the final...
Read More“Dream Hou$e”—The Costs of Home
by Donald Brown | Mar 24, 2022 | Playwriting, Review, Theatre and Politics, United States of America
Review of Eliana Pipes’ Dream Hou$e, Long Wharf Theatre The question of heritage gets...
Read MoreThe Plight of DREAMers Moves To A National Stage; Maybe This Will Truly Help
by Tony Valdovinos | Mar 16, 2022 | Musical Theatre, New York, Theatre and Politics, United States of America
Sadly, social justice for DREAMers <DREAMers are undocumented individuals who were brought into...
Read MoreStill a Bitter Pill: An Involving Play of Love and Loss
by Donald Brown | Mar 8, 2022 | LGBTQ Theatre, Review, United States of America
This Bitter Earth is another good choice of an intimate, well-scripted play for TheaterWorks by Artistic Director Rob Ruggiero, letting audiences experience a meaningful take on the issues of our day as filtered through dramatic situations.
Read MoreFree Performance: A Response to metaLAB’s futureStage Manifesto
by Ilinca Todoruţ | Mar 4, 2022 | Essay, Germany, Theatre and Science, Transmedia, United States of America
On November 20, 2021, TheTheatreTimes.com published futureStage Manifesto, developed by...
Read MoreBonnie Marranca: “The Divisiveness of Contemporary American Society Impacts All Aspects of Theatre”
by Cristina Modreanu | Mar 1, 2022 | Interview, Theatre and Politics, United States of America
CM: Your new book, Timelines. writings and conversations, maps out recent developments in American...
Read More“Moving Beyond the Box”: A Triumph Of Dance And Togetherness In An Era Of Isolation
by Michael Schweikardt | Feb 23, 2022 | Education, Interview, Theatre and Dance, United States of America
In March 2020, when we were all quarantined at home, director/choreographer Christie Kerr looked...
Read MoreSin Muros: Interview with Lupe Mendez
by Trevor Boffone | Feb 17, 2022 | Festivals, Interview, United States of America
Sin Muros: A Borderless Teatro Festival returns to Stages in Houston February 17-20, 2022. Now in...
Read More“Final Curtain Call:” Theatre, Home, and Determination
by Rhiannon Ling | Feb 16, 2022 | Interview, Theatre and Film, United States of America
These past two years have proven how much of a home the theatre is, something many only realized...
Read MoreSin Muros: Interview with Playwright Adrienne Dawes
by Trevor Boffone | Feb 15, 2022 | Festivals, Playwriting, United States of America
Sin Muros: A Borderless Teatro Festival is back at Stages in Houston. Now in its fifth year, the...
Read More“This Mortal Life Also:” A Conversation with Playwright Nancy Shank
by Rhiannon Ling | Feb 12, 2022 | Interview, Playwriting, United States of America
Dietrich Bonhoeffer is not a name typically associated with the theatre. Though the Bonhoeffer...
Read MoreA Celebration of Wondering: “The Hang” is a Party You Won’t Want to Miss
by Megan C. McCormick | Feb 11, 2022 | New York, Review, Theatre and Opera, United States of America
Vibrant, thought-provoking, invigorating, and brimming with talent, “The Hang,” with book and...
Read More“I Thought I Could Read God’s Mind”: Katrin Arefy’s “The Portrait of An Angel, A Lion, A Monster”
by Emily Cordes | Feb 10, 2022 | Design, New York, Review, Theatre and Gender, United States of America
When reflecting on the experiences, and people, that have shaped us, certain individuals may...
Read MorePassing a Relighted Torch. “Angry, Raucous & Shamelessly Gorgeous”
by Donald Brown | Feb 8, 2022 | Review, Theatre and Gender, United States of America
Hartford Stage in Hartford, Connecticut, has a stable tradition of offering literate plays...
Read MoreTeaching Music Online in the Pandemic Has Yielded Creative Surprises, Like Mixing “Blob Opera” and Beatboxing
by Robbie MacKay | Jan 26, 2022 | Canada, Education, Theatre and Opera
Learning to make music is a full mind-and-body activity. Whether teaching how to play a musical...
Read More“Fires” This Time
by Donald Brown | Jan 24, 2022 | Review, Theatre and Politics, United States of America
Long Wharf Theatre in New Haven Connecticut stages a revival of Anna Deavere Smith’s Fires in the...
Read MoreArtist Entrance: Kelly Copper
by Etcetera | Jan 21, 2022 | Interview, New York, Theatre and Politics, United States of America
Every month, Etcetera gazes into the soul of a performing artist. We choose artistic interest over...
Read MoreKennedy Center Dramaturgy Intensive 2021 Retrospective
by Suzi Elnaggar | Jan 13, 2022 | Covid-19, Dramaturgy, Mexico, Review, United States of America
In the face of many challenges in Summer 2021, The John F. Kennedy Center for the Performing Arts...
Read More“As Soon As Impossible”: An Arab-American Comedy of Errors
by Adam Ashraf Elsayigh | Jan 12, 2022 | Review, Theatre and Politics, United States of America
Where and when: Harry J. Elam, Jr. Theater at Stanford University from November 11, 12, 13, 18,...
Read MoreHere’s to the Ladies who Lunch: One of Sondheim’s Greatest Achievements was Writing Complex Women
by Narelle Yeo | Jan 10, 2022 | Essay, Musical Theatre, Theatre and Gender, United States of America
The most eclectic of music theatre composers was not only a gifted wordsmith and lyricist, but...
Read MoreHollywood Has Got Method Acting All Wrong, Here’s What the Process is Really About
by Eric Hetzler | Jan 6, 2022 | Acting, Essay, United States of America
So-called method acting seems to be having a moment. Benedict Cumberbatch and Kirsten...
Read MoreStephen Sondheim Showed Me the Beauty, Terror and Exquisite Pain of Being Alive
by Sonya Suares | Jan 4, 2022 | Musical Theatre, News, United States of America
What did Stephen Sondheim mean to me? This is an attempt to bring order to the chaos. My first...
Read MoreRealities Blend Together in Arlekin Players’ “Witness”
by Alexander Fatouros | Jan 3, 2022 | Boston, Review, Theatre and Art, Transmedia, United States of America
A daring and nuanced documentary virtual theatre piece about Jewish refugees fleeing Nazi Germany...
Read MoreFive of Stephen Sondheim’s Best Shows
by Christopher Wiley | Dec 17, 2021 | Musical Theatre, News, United States of America
A musical theatre legend has died. Stephen Sondheim, the greatest composer-lyricist of his...
Read MoreThe Music of Words: The Metropolitan Opera’s “Eurydice”
by Fareeda Pyracha Ahmed | Dec 16, 2021 | New York, Review, Theatre and Opera, United States of America
If you’ve never seen an opera before, start here. If you’ve seen a ton of opera before, re-start...
Read MoreWomen in Science in Theater – Transforma Theatre Paves a New Crossroads with Stunning Insight
by Fareeda Pyracha Ahmed | Dec 1, 2021 | Review, Theatre and Science, United States of America
For anyone wondering if live theater offers nothing but escapism from our mini-plague—or worse—on...
Read More“By Heart”: Can One Poem Save the World?
by Julia Sirmons | Nov 27, 2021 | New York, Review, Theatre and Politics, United States of America
“I have an aversion to ‘immersive theater,’” Tiago Rodrigues says at the beginning of By Heart. He...
Read MoreRE: Encuentro: Interview with “Paletas de Coco” Playwright Franky D. Gonzalez
by Trevor Boffone | Nov 26, 2021 | Festivals, Interview, Playwriting, United States of America
In 2014, the Latino Theater Company (LTC) re-ignited the Latinx theatre festival tradition, a...
Read MoreHow I Met TheTheatreTimes.com
by Stefan Dzeparoski | Nov 25, 2021 | Canada, News
Theatre saved my life. By the time TheTheatreTimes.com appeared, I had already crossed one...
Read MoreWhole New World: Indian-American Actors Proud in “Aladdin” Play
by Associated Press | Nov 22, 2021 | Musical Theatre, New York, News, United States of America
Diversity in film is important, but in animation, it carries an even heavier, different message....
Read MoreMidwest Melancholy: “Girl From the North Country” at the Belasco Theatre
by Andrew Agress | Nov 17, 2021 | Musical Theatre, New York, Review, United States of America
The second show after The Times They Are a-Changin’ to use the music of the great midwestern musician, Girl From the North Country proves the greater of the two. It opts for whichever songs convey the tone of the show over which are most well-known. Yes, it’s a musical of sadness and heartbreak, but it digs deeps into the human spirit to provide a powerfully cathartic experience.
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