“Bluets,” Royal Court
When does creativity become mannered? When it’s based on repetition, and repetition without...
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Tag: Sarah Kane
About “The Separation”
The camera can take you to places where the naked eye rarely goes. Like close. Very close. Close...
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Brief Notes Towards A Definition Of Leftfield Theatre
In his wide-ranging, and widely read, survey of postwar British theatre, called State of the...
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Sarah Kane Through a Russian Prism
Of all the unexpected things I think I might be able to imagine, one I could never have imagined...
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Vienna: Mental Eclipse Theater’s “Blasted” (Sarah Kane). Separating Admirable Impulse From Mixed Impact
Mental Eclipse Theater’s production of Sarah Kane’s Blasted is, admittedly, a mixed experience,...
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Maya Arad Yasur’s “Amsterdam” at the Orange Tree Theatre: Crimpian Account of the Past in the Present
The past can often hang like a nightmare on the present. And, in the case of Jewish identity, this...
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Liu Xiaoyi: Bending Space And Time In The Theatre
As part of the Asian Theatremakers series Liu Xiaoyi and I are arranging for a time and date to...
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Betraying Kane, the Musical: “4.48 Psychosis” Venables’ Operatic Version
4.48 Psychosis, by Sarah Kane, was turned into an opera by composer Philip Venables in a...
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Sarah Kane’s “4.48 Psychosis” at New Diorama Theatre
It’s all about the casting. The paradox of playwright Sarah Kane’s short career is that while her...
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Sarah Kane’s Controversial 1990s Play “Blasted” Feels Prescient In The #MeToo Era
Playwright Sarah Kane was an “honorary lad” in in-yer-face drama that dominated the 1990s in...
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“Melancholia” Artfully Brings The End Of The World To The Stage
Melancholia is based on Lars von Trier’s 2011 film of the same title but has been adapted for the...
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Rory Mullarkey’s “Pity” At The Royal Court
London’s Royal Court theatre, which proudly boast of being “a leading force in world theatre for...
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Contemporary Performing Arts In Ukraine. In Search Of A Lost Identity
The theatre landscape in Ukraine is diverse and contradictory. Presently, there are more than 120...
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What It’s Like To Be A Female Fight Director
“We will not glorify violence” Visit Ruth Cooper-Brown at the weekend and you might...
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Out Of Character: How Acting Puts A Mental Strain On Performers
Performers are twice as likely as the general population to experience depression, according to...
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Natal’ya Vorozhbit’s “Bad Roads” at The Royal Court Theatre
War is morally acidic: it dissolves social rules, loosens inhibitions and gives permission to men...
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Theatre Translation Forum launches ‘Adapting Translation for the Stage’
In 2013-14, an innovative, cross-disciplinary research project explored the interactions of...
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‘Who Knew the World Could be so Awful’: Alice Birch’s Apocalyptic Feminist Theatre
Alice Birch’s production, Revolt. She said. Revolt again., currently on at Melbourne’s Malthouse...
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How Far Should We Go When Depicting Violence on Stage?
Last year, London audiences have been horrified by the violence shown on stage in the National...
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Remembering Sarah Kane
When Sarah Kane was still alive, it was vital to support her work — her style was so raw, so...
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