Tag: African-American

“Beneatha’s Place,” Young Vic

Posted by Aleks Sierz | 4th Aug 2023 | London, Review, Theatre and Politics, United Kingdom

Trauma is the source of identity politics. In the case of African-Americans, the experience of...

Read More

“The Time of Our Singing” Opera Tackles Racial Segregation

Posted by French Press Agency (AFP) | 29th Sep 2021 | Adaptation, Belgium, Review, Theatre and Opera

Based on an American novel detailing the country’s troubled 20th century, the new Belgian...

Read More

The Dangers of Optical Illusionary Performative Activism

Posted by Azudi Onyejekwe | 7th Jun 2020 | Essay, New York, Theatre and Politics, United States of America

Dear white folks (and institutions) seeking to be true allies, Resist the urge to pat yourselves...

Read More

Lynn Nottage’s “Sweat” at the Gielgud Theatre: Contemporary Americana

Posted by Aleks Sierz | 17th Jun 2019 | London, Review, United Kingdom, United States of America

The word “Rustbelt” is really eloquent in its evocation of industrial decline. After all, rust is...

Read More

“Saviour Samuel” At Pittsburgh Playwrights Company In Pittsburgh, PA

Posted by Wendy Arons | 12th Mar 2019 | Pittsburgh, Review, The Pittsburgh Tatler, United States of America

Set on the Kansas prairie in the late 19thcentury, Mark Clayton Southers’ Saviour Samuel might...

Read More

debbie tucker green’s “ear for eye” At The Royal Court

Posted by Aleks Sierz | 4th Nov 2018 | London, Review, United Kingdom

Two countries; two histories. Being black in the US; being black in the UK. Compare and contrast....

Read More

Conversation With Élise Vigier, Director Of “Harlem Quartet”

Posted by Nicole Birmann Bloom | 22nd Sep 2018 | Adaptation, France, Interview

The 7th Edition of Seuls en scène, Princeton French Theater Festival presents Harlem...

Read More

Like Us On Facebook

Facebook Pagelike Widget

Awards

Most Popular Posts

From Richard To Richard: MITEM 2026 And a Europe in… by Emiliia Dementsova 14th April 2026
David Yazbek: The Master of Adapting Films into… by Lisa Monde 2nd April 2026
GPS M S Biomechanics System Vs. Narcissism:… by Ivanka Apostolova Baskar 8th April 2026
Waking Up in the Spotlight with “The Unusual… by Alexander Fatouros 24th March 2026
Michael Frayn’s “Copenhagen” at the Hampstead… by Aleks Sierz 14th April 2026
Romeo Castellucci “Believing In Masks” At Milan’s… by Margaret Rose 13th March 2026
New York City Fringe Begins April 1 by Marcina Zaccaria 25th March 2026
Chekhov’s “Uncle Vanja”, directed… by Duška Radosavljević 14th April 2026
“The Devil Wears Prada” and Other… by Lisa Monde 8th February 2026
Maxim Sukhanov – About The “Brew”… by Sergey Elkin 1st May 2026

Recent Posts

Pinocchio. What Is a Person? at MITEM: Who Gets to Be Seen as Fully Human? 8th May 2026
At The Düsseldorfer Schauspielhaus, “Gott ‘By Ferdinand Von Schirach Presents Its Tough Ethical Dilemma For The Audience To Vote On 5th May 2026
Guilt And Resilience, And “The Fear Of 13” 3rd May 2026
Birmingham Royal Ballet’s “Don Quixote” Slowly Finds Its Sunshine 2nd May 2026
“Managed Approach” – Two Contrasting Stories – Open Aire Theatre, Riverside Studios, London 1st May 2026
Maxim Sukhanov – About The “Brew” Of A Performance, Krymov Rehearsals, “Dramatic Provocations” And The “Hope For The Good”. 1st May 2026
Bound To Start Again, Again, Again… 27th April 2026
The Wooster Group’s “Nayatt School Redux” at the Coronet Theatre: Made-Over Experimental Classic Marks A Great Comeback 25th April 2026
“Jen Xponential,” A Story Of Potential 24th April 2026
“Frankenstein (History Of Hate)” 23rd April 2026

SEARCH OUR ARCHIVES

Pin It on Pinterest