gender Archives - The Theatre Times

“Boy Parts.” Soho Theatre

Posted by Aleks Sierz | 5th Nov 2023 | London, Review, United Kingdom

We’ve all heard of the male gaze, but what about its subversion? Overturning masculine dominance...

Miriam Battye’s Strategic Love Play At The Soho Theatre: Mixture Of Laughter, Pain And Insight Into Contemporary Romance

Posted by Aleks Sierz | 11th Sep 2023 | Review, United Kingdom

Remember what a first date feels like? Awkward. Exciting. Awkward. Intriguing. Awkward. Difficult....

Tim Fraser’s Candy At Park Theatre: Moving Account Of Gender Identity And Masculinity

Posted by Aleks Sierz | 6th Sep 2023 | Review, United Kingdom

Okay, let’s start with a definition: it is said that sex is what you have between your legs, and...

New Australian Play “D*ck Pics in the Garden of Eden” is Bold, Funny – And Very, Very Lewd

Posted by Helen Trenos | 11th Jan 2023 | Australia, Design, Directing, Review, Theatre and Gender

Review: D*ck Pics in the Garden of Eden, written and directed by Jeffrey Jay Fowler, The Last...

Glitches, Memes and Playbackshows: Performance in the Post-internet Era

Posted by Simon Baetens | 14th Dec 2022 | Belgium, Essay, LGBTQ+ Theatre

Drag is gaining popularity and visibility at a rapid pace. With the body as a canvas and the...

Why Weren’t Women Allowed to Act in Shakespeare’s Plays?

Posted by Elizabeth Steinway | 7th Apr 2022 | Education, Essay, Theatre and Gender

Curious Kids is a series for children of all ages. If you have a question you’d like an expert to...

“The Red Femicycle”: Gender Based Violence in Sharp Focus

Posted by Tonderai Chiyindiko | 14th Dec 2020 | Review, South Africa, Theatre and Gender

The Red Femicycle brings into sharp focus Gender-Based Violence in a gut-wrenching and...

“It’s OK to be Naked”: An Interview with Tim Norwood

Posted by Konrad Zielinski | 23rd Oct 2020 | Interview, Theatre and Gender, United Kingdom

Tim Norwood describes himself as an emerging theatre-maker from Sheffield. He’s queer, disabled,...

Designing “Soldiergirls”: When Truth is More Compelling than Fiction

Posted by Michael Schweikardt | 22nd Sep 2020 | Design, Interview, United States of America

On Monday, August 31st, 2020, Rattlestick Playwrights Theater presented a benefit concert...

Disrupting Taboos, Staging Cancer: Snowdrops and Chlorine’s Eruptive Intervention

Posted by Hannah Trivilino and Vassiliki Rapti | 1st Aug 2020 | Review, Romania, Theatre and Disability, Transmedia

The following review is based on the Snowdrops and Chlorine script, which differs slightly from...

Polish Shakespeare Online: Maja Kleczewska’s “Macbeth”

Posted by Konrad Zielinski | 8th May 2020 | Poland, Polish Theatre Abroad, Review

L. P. Hartley’s much-recycled observation that ‘the past is a foreign country’ seems an oddly...

“Seven Methods Of Killing Kylie Jenner” At The Royal Court Theatre

Posted by Aleks Sierz | 25th Jul 2019 | London, Review, United Kingdom

Few theatres have done as much to promote new young talent as the Royal Court; few theatres have...

“Garry” at The White Bear Theatre

Posted by Laura Kressly | 3rd Jul 2019 | The Play's The Thing UK

In the programme notes, director Graham Watts states, “there are hundreds of astonishing plays...

Dana Michel: “Cutlass Spring”

Posted by Isaiah Lopaz | 25th Jun 2019 | Belgium, Review, Theatre and Politics

“You have to sit on the side of the stage. You’ll see that when you enter you have the option of...

Winners Demand More Gender Parity, Representation, and Diversity at 2019 Tony Awards

Posted by Holly Rosen Fink | 14th Jun 2019 | New York, News, Theatre and Disability, Theatre and Gender, United States of America, Women on Broadway and Beyond

When Rachel Chavkin walked into the Tony Awards media room, she continued the conversation she had...

Ravi Jain’s “Prince Hamlet”: A Meta-theatrical Reversal Of Disability And Gender

Posted by Abhimanyu Acharya and Sheetala Bhat | 2nd Mar 2019 | Canada, Review, Theatre and Disability

Why Not Theatre’s Prince Hamlet, adapted and directed by Ravi Jain, is a performative exploration of the relationship between aesthetics and disability. Prince Hamlet is a gender-bent, bilingual play which uses English and American Sign Language (ASL).