July

Miangaly Theatre Company: Defining the Stage in Madagascar

3rd July 2024 | Essay, Madagascar, Management

June

CPH Stage Festival 2024

18th June 2024 | Denmark, Festivals, Review
Netherworld or Right Now?

17th June 2024 | Directing, New York, Review, United States of America
Hopes, Dreams, Revenants and Repetitions: La Zaranda’s “Manual Para Armar Un Sueño/Manual For Building A Dream” At Barcelona’s Teatre Romea

16th June 2024 | Review, Spain
Sentimentality and Mentality, Apocalypse and Theatrical Eclipse at 69th Sterijno Pozorje

16th June 2024 | Festivals, Review, Serbia
Happy Birthday Nuria Espert: “a Great Actor And a Force of Nature”

11th June 2024 | Acting, News, Spain
Sanaz Toossi’s English at the Kiln Theatre: Pulitzer Prize-Winning Play Shows the Impacts of a Second Language on Identity

10th June 2024 | London, Review, Theatre and Politics, United Kingdom, United States of America
Theatre as Confrontation: Catherine Filloux’s “How to Eat an Orange” at La MaMa

4th June 2024 | Algeria, France, Interview, Theatre and Politics
When Theatre Meets Gaming: “Third Law” at Culture Lab LIC

1st June 2024 | Immersive Theatre, New York, Review, United States of America

May

Prominent American Theatre Scholar, Elinor Fuchs, Dies at 91

28th May 2024 | Dramaturgy, New York, News, United States of America
“Ronja, the Robber’s Daughter:” Theater Conventions for Kids

22nd May 2024 | Poland, Review, Theatre for Young Audiences
Like Mother, Like Son: “Redemption Story” at A.R.T./NY

22nd May 2024 | New York, Review, Theatre and Film, United States of America
“Miss Saigon”: Déjà vu. An exclusive interview with Claude-Michel Schönberg

21st May 2024 | France, Interview, Musical Theatre
The Return of the Musical “Titanic” to NYC

19th May 2024 | Musical Theatre, Review, United States of America
“English,” a Gate to Enriching Desired Dreams

15th May 2024 | Review, Theatre and Politics, United States of America
“Earworm:” Entangled in the Political Landscape

15th May 2024 | Canada, Review, Theatre and Politics
Legacy of TiyatroTem on the Independent Theatre Scene of Turkey after 2000s

15th May 2024 | Essay, Theatre and Decolonization, Turkey
“Bérénice” at Milan’s FOG Festival

14th May 2024 | Festivals, Italy, Theatre and Art
Igor Vuk Torbica (1987 – 2020) – Balkan “Prince of Theatre” – The third Igor’s Days

13th May 2024 | Directing, Macedonia, Review, Serbia
From Exile to Redemption

12th May 2024 | Review, Theatre and Politics, United States of America
How To Recognise Us? The Foreign Women In London: Theatre Review Of “Don’t Get Me Wrong”

5th May 2024 | Review, Theatre and Politics, United Kingdom
Retro-futurist Green Theatre: Trick of the Light’s “Suitcase Show”

2nd May 2024 | New Zealand, Puppetry, Review

April

Follies and Murder Ballads and Extinction, Oh My!: New York City Fringe 2024

28th April 2024 | Festivals, Review, United States of America
“Without a State:” a Collision Between Migration and the Perpetual Pursuit of Identity and Belonging

23rd April 2024 | Review, Theatre and Politics, Zimbabwe
“That Perfect Dark”: Samuel Beckett’s “Company” in Dunedin

19th April 2024 | Adaptation, New Zealand, Review, Worldwide
Anything Can Be Bought If The Price Is Right: Juan Mayorga’s “La Colección” (The Collection)

12th April 2024 | Review, Spain
Staging Justice: Miguel del Arco revisits Jordi Casanovas’ “Jauría” and the case of “la manada” (the wolfpack)

9th April 2024 | Review, Spain
Towards New Theatre in Europe: What Roles Can Multilingual Dramaturgies Play in Europe’s Future(s)?

8th April 2024 | Dramaturgy, Interview, Theatre and Politics
Milan’s FOG Festival

7th April 2024 | Festivals, Immersive Theatre, Italy
Mariam Ndagire: A Full Career in Theatre, Music and Film

4th April 2024 | Acting, Essay, Uganda
Between The REMBELIO OF POPOLARI (“Omilies”, Carnevals, Anonymous Poets) And No Stable Funding

4th April 2024 | Greece, Interview, Management
The Silent Service of Women: Cayenne Douglass’s “Maiden Voyage” at The Flea

2nd April 2024 | New York, Review, Theatre and Gender, United States of America

March

“Teeth” Bites Back Against Purity Culture: On Michael R. Jackson and Anna K. Jacob’s Musical

31st March 2024 | New York, Review, Theatre and Gender, United States of America
“I Killed My Mother/It Wasn’t My Fault.” Which Way Does One Get to Come-of-Age?

25th March 2024 | India, Review, Theatre and Gender
A Triple Bill on Desire and its Discontents: “La Voix Humaine”, “Erwartung” and Something in Between at Madrid’s Teatro Real

25th March 2024 | Review, Spain, Theatre and Opera
Alfredo Sanzol Stages Lorca’s “The House of Bernarda Alba”: Simmering Passions, Solitude and Surveillance

25th March 2024 | Review, Spain
“Haywire:” An Unsettling Account On Mental Health Issues

22nd March 2024 | Review, Theatre and Science, Zimbabwe
“ANGELA (a Strange Loop)”: The Wild and Wonderful World of Susanne Kennedy

22nd March 2024 | Directing, Review, Spain
Re-imagining the City through Performance: “The Drifting Room”, Created and Performed by Stephen Bain

21st March 2024 | Design, Essay, Festivals, New Zealand
Find Your Voice, Loud and Clear: Musical “Il Tenore” Review

21st March 2024 | Musical Theatre, Review, South Korea
Stage to Screen: Támara Torres on “Orange Is The New Black,” Netflix Shaping Streaming

21st March 2024 | Acting, Interview, New York, Theatre and Film, United States of America
“The Bald Soprano,” French Absurd Theater Becomes a German Contemporary Opera Buffa

18th March 2024 | Germany, Review, Theatre and Opera
Tim Price’s “Nye” at the National Theatre: A Fun Life of the Creator of the National Health Service

14th March 2024 | London, Review, Theatre and Politics, United Kingdom
A Theatre Festival Where Nature Was the Co-actor

11th March 2024 | India, News, Theatre and Science
“This Is Our Home” – Online Theatre Three Years Later

7th March 2024 | Review, Transmedia, Ukraine
Lucy Kirkwood’s “The Human Body” at the Donmar Warehouse: Twin Tales of Illicit Love and the Founding of the National Health Service

6th March 2024 | Review, Theatre and Politics, United Kingdom
Marius von Mayenburg’s Nachtland at the Young Vic: Satire on Art and Anti-Semitism Is Both Absurdist and Unsettling

4th March 2024 | Germany, London, Review, Theatre and Politics, United Kingdom
In Poor Voice

3rd March 2024 | Review, Transmedia, United States of America
Ascanio Celestini’s “Rumba. The Donkey and the Ox”

1st March 2024 | Italy, Review, Theatre and Religion
Theater, Addiction, and Responsibility

1st March 2024 | Musical Theatre, Review, United States of America

February

More Equal Theatre-Making in Europe: Reflection on Creative Europe and Practical Difficulties from Multilingual Perspectives

29th February 2024 | Essay, France, Germany, Greece, Ireland, Producing, Serbia, Tunisia
Multilingual Theatre For/With Young Audiences: On the Jeune Théâtre Européen Jeunes Publics Project

28th February 2024 | Essay, France, Germany, Greece, Ireland, Theatre and Politics, Theatre for Young Audiences, Tunisia
Peter Sellars’ “Beatrice di Tenda”: Freedom, Defiance, and Tyranny

27th February 2024 | France, Review, Spain, Theatre and Opera
Henrik Ibsen’s An Enemy of the People at the Duke of York’s Theatre: Thomas Ostermeier’s West End Debut Has Starry Cast And Punk Aesthetics

26th February 2024 | London, Review, Theatre and Politics, United Kingdom
Becoming a Citizen Dramaturg

24th February 2024 | Dramaturgy, Education, News, United States of America
Musical “Evita”: 45 Years Later

22nd February 2024 | Interview, Musical Theatre, New York, United States of America
Oscar Wilde’s “The Picture of Dorian Gray” at the Theatre Royal Haymarket

19th February 2024 | London, Review, United Kingdom
Neurodivergent New Play Series Resumes Schedule for 2024

18th February 2024 | Essay, New York, Theatre and Disability, United States of America
“Golden Calabash:” A Peep at Modern Politics

16th February 2024 | Review, Theatre and Politics, Uganda
Alberto Conejero’s “En Mitad de Tanto Fuego” (In the Midst of So Much Fire): Addressing the Gaps from the Margins

15th February 2024 | Review, Spain
Sergio Blanco’s “When You Pass Over My Tomb” at the Arcola Theatre: Exquisite Meta-Theatrical Exploration Of Death and Necrophilia

14th February 2024 | Adaptation, London, Playwriting, Review, United Kingdom, Uruguay
Young Choreographers at Teatro dell’Opera di Roma

14th February 2024 | Italy, Review, Theatre and Dance, Theatre and Opera
What Can I Say?

12th February 2024 | Review, Theatre and Gender, United States of America
Jez Butterworth’s “The Hills of California” at the Harold Pinter Theatre: Warm Evocation of 1950s Pop Culture Is Fun, But Lacks Dramatic Resolution

11th February 2024 | London, Playwriting, Review, Theatre and Gender, United Kingdom
On the “POTUS” Trail with Bekah Walsh

10th February 2024 | Theatre and Gender, Theatre and Politics, United States of America
Rage and Fury: Calixto Bieito Stages Aribert Reimann’s “Lear” at the Teatro Real Madrid

8th February 2024 | Review, Spain
“Misericordia” (Mercy) at Madrid’s Teatro Valle Inclán: Families, (Auto)fiction and Exile

6th February 2024 | Review, Spain
A Beginner’s Guide To Santiago a Mil 2024: 10 Key Takeaways From One of Latin America’s Most Important Theatre Festivals

6th February 2024 | Chile, News, Santiago a Mil 2024
Theatre Against Ageism: “The Secret Lives of Extremely Old People” by Rachel McAlpine

5th February 2024 | Documentary Theatre, New Zealand, Theatre and Age
“The Fantastical Fellowship:” Niche Comedy at Under St. Mark’s

5th February 2024 | Immersive Theatre, New York, Review, United States of America, Worldwide
Phillip Luswata: A Career Onstage and Behind the Scene

4th February 2024 | Directing, Essay, Uganda
Sam Holcroft’s “A Mirror” at the Trafalgar Theatre

4th February 2024 | London, Review, Theatre and Politics, United Kingdom
Disability Representation and the Rise and Fall of How to Dance in Ohio

3rd February 2024 | New York, Review, Theatre and Disability, United States of America

January

Zoe Cooper’s Northanger Abbey at the Orange Tree Theatre: High Energy and Queer-eyed Adaptation of Jane Austen Classic

31st January 2024 | London, Review, United Kingdom
Long and Short Hatreds

31st January 2024 | Review, Theatre and Politics, United States of America
TheTheatreTimes.com: Towards Transnational Digital Infrastructure

27th January 2024 | Editorial, Essay, Worldwide
Creativity on the Edge, Communication with the Centre, and Conversations about the Future

27th January 2024 | Design, Essay, Ireland, Producing
Interview with Brilliant Les Dramaturx (Germany): Playfully, In the Sense of Autonomous Art, or Politically, In the Sense of Artivism.

26th January 2024 | Germany, Interview, Theatre and Art, Theatre and Gender
Dealing with a Difficult Past: Guillermo Calderón’s “Villa” at Santiago a Mil

24th January 2024 | Chile, Review, Santiago a Mil 2024
Design Writing: Five Views of Sarah Ruhl’s “Eurydice”

24th January 2024 | Design, Essay, United States of America
“El Lector Por Horas/Reader By The Hours.” A Successful Spanish Play That Also Deserves To Be A Global Hit

23rd January 2024 | Playwriting, Review, Spain
Actor on the Verge of a Nervous Breakdown: “El Brote” (The Break) at Santiago a Mil

23rd January 2024 | Chile, Review, Santiago a Mil 2024
NYC Artists Stand in Solidarity with The Freedom Theatre

22nd January 2024 | New York, News, Theatre and Politics, United States of America
Performance and Politics: “Parlamento” (Parliament) Storms Santiago a Mil

20th January 2024 | Chile, Review, Santiago a Mil 2024
Making a Film on Santiago’s Streets: “Efectos especiales” at Santiago a Mil

19th January 2024 | Chile, Review, Santiago a Mil 2024
Depression and discontents: Daniel Veronese’s staging of “La persona deprimida” (The Depressed Person) at Santiago a Mil

18th January 2024 | Chile, Review, Santiago a Mil 2024
From 1984 to 2024: Teatro Ictus’s “Primavera Con Una Esquina Rota” (Springtime In a Broken Mirror) at Santiago a Mil

17th January 2024 | Chile, Review, Santiago a Mil 2024
“María Isabel” at Santiago a Mil: Staging Political Agency

16th January 2024 | Chile, Festivals, Review, Santiago a Mil 2024
Marilyn Monroe – The Family Babysitter: Luke Yankee and the Creation of “Marilyn, Mom & Me”

16th January 2024 | Interview, Los Angeles, Playwriting, United States of America
More Sickly Mansions

7th January 2024 | Acting, Review, United States of America
Shifting the Spotlight: Exploring the Scarcity of Female Voices in Iraqi Theatre

7th January 2024 | Essay, Iraq, Playwriting, Theatre and Gender
Miguel del Arco’s “Rigoletto” at Madrid’s Teatro Real: In-Yer-Face Opera for In-Yer-Face Times

6th January 2024 | Review, Spain, Theatre and Opera
“Aftermath:” An Interview with Piper Theatre’s Daniel McKamey, Pance Pony, James Clements, and Bailey Nassetta.

4th January 2024 | Interview, Musical Theatre, New York, Theatre and Politics, United States of America
Kampala’s Tale of Two Theatre Festivals

4th January 2024 | Festivals, News, Uganda
“The Maids” by Genet: The Logic of the Paradox

2nd January 2024 | France, Interview, Theatre and Gender, United States of America
Jack Thorne’s “The Motive and the Cue” at the Noël Coward Theatre: Jack Thorne’s History Play About Gielgud And Burton Transfers To The West End

1st January 2024 | Acting, Playwriting, Review, United Kingdom

December

“Faded:” Beyond the Dance

28th December 2023 | Review, Theatre and Gender, Uganda
At the End of the Land: an avalanche of images that invites us to sit alone in time and space together

22nd December 2023 | Australia, Review
The Opening of Barcelona’s Newest Theatre: Àlex Rigola Stages Thomas Bernhard’s “L’home De Teatre”

21st December 2023 | Management, Review, Spain, Theatre and Politics
Great Acting: Training Your Mind and Body to be Perceptive – Learning About Yourself and Your Surroundings. An Interview with Zdravko Stojmirov

21st December 2023 | Acting, Interview, Macedonia
Cuban Just So Stories

20th December 2023 | Musical Theatre, Review, United States of America
“Vudú (3318) Blixen” or a Complex Naïve Way to Exorcise Pain

20th December 2023 | Review, Spain, Theatre and Gender
“Macbeth” at the Donmar Warehouse

20th December 2023 | London, Review, United Kingdom
Fringe Theatre at Ukraine Fringe: from a Bomb Shelter to a Festival

19th December 2023 | Essay, Festivals, Ukraine
Coronada and the Bull Return to the Stage

18th December 2023 | Playwriting, Review, Spain
Desiré Festival 2023: Poetics of Andraš Urban, Circus of Marko Mandić, God of Jernej Lorenci

18th December 2023 | Festivals, Review, Serbia
David Ireland’s “Ulster American” at the Riverside Studios

17th December 2023 | London, Review, Theatre and Politics, United Kingdom
Is There a Right Way to Make Chinese Opera?

16th December 2023 | China, Essay
“whole body like gone”: The Art of the Virtual World within Hannah Clarkson’s Exhibition of Samuel Beckett and Jocelyn Herbert

15th December 2023 | Design, London, United Kingdom
Another World. Mihail Sebastian’s “A Star without a Name” at PM Theater

13th December 2023 | Featured, New York, Review, United States of America
Timelier Every Day: Kazimierska’s “Katie’s Tales”

12th December 2023 | New York, Review, Theatre and Gender, Theatre and Politics, United States of America, Worldwide
History Experienced In VR

9th December 2023 | Bosnia, Immersive Theatre, Interview
The play Metamorphosis reimagined the space beyond the proscenium

8th December 2023 | India, Review
Roxy Cook’s A Woman Walks into a Bank at Theatre 503: Sublimely Beguiling Account of Everyday Life in Twenty-First Century Moscow

7th December 2023 | Playwriting, Review, Russia, Theatre and Age, United Kingdom
“Feed Me, Seymour!” An Exclusive Interview with Corbin Bleu from “Little Shop of Horrors”

7th December 2023 | Interview, Musical Theatre, New York, United States of America
A Theatre of Elsewhere

5th December 2023 | Collaborating Across Cultures, Poland, Theatre and Film, Translation
Belvoir’s “The Master and Margarita:” Astonishingly Ambitious, Physically Demanding, and a Resounding Success

1st December 2023 | Adaptation, Australia, Review
Prison Shakespeare at Milan’s Young Offenders Institute

1st December 2023 | Essay, Italy, Theatre and Age

November

Translating the Act: Kenyan Producers Keeping Indigenous Languages in Auditoriums

30th November 2023 | Essay, Kenya, Theatre and Decolonization
AI, Sci-Fi, Neuroscience and ChatGPT – An Interview with Playwright Saviana Stănescu

30th November 2023 | Interview, New York, Transmedia, United States of America
Akarsh Khurana’s Play “The F Word” Is A Darkly Comic And Relatable Dive Into Family Complexities

30th November 2023 | India, Interview, Playwriting
“Waiting for Lucky” and “Quê Onde” – A Brazilian Beckett Double Bill Presented at the Between.Pomiędzy Dispersed Festival 2023

29th November 2023 | Brazil, Poland, Review
“Interview with Ukrainian Actor Orest Pastukh”

28th November 2023 | Interview, Kosovo, Ukraine
Sensing Others through Dancing Bodies as Data: Review of Sense Datum by UBIN DANCE

26th November 2023 | Review, South Korea, Theatre and Dance
“The Interview,” Park Theatre

25th November 2023 | London, Review, Theatre and Politics, United Kingdom, Worldwide
“Is It Me? Am I the Drama?”: Marketing “Switzerland” on Social Media

24th November 2023 | Transmedia, United States of America
Reflections On Teaching Israel/Palestine in The Theatre Studies Classroom

22nd November 2023 | Education, India, Theatre and Politics
Hyderabad This Weekend: Three plays with Different Storylines to Think and Entertain

21st November 2023 | Adaptation, Devised Theatre, India
10 Years Later, Kampala International Theatre Festival is Still Spreading Wings

20th November 2023 | Festivals, News, Uganda
They Were People: Brittany K. Allen’s “Redwood” at EST

20th November 2023 | New York, Review, Theatre and Decolonization, United States of America
“Dear England:” ‘Feelgood’ Gareth Southgate Play Reviewed by a Sports Coaching Expert

20th November 2023 | Documentary Theatre, Review, United Kingdom
“Antigones” Kosovo Theatre Showcase

19th November 2023 | Kosovo, Review, Theatre and Politics
In Conversation with Sartre and Plato: Locus29’s “Hell Dialogues”

14th November 2023 | Adaptation, New York, Review, United States of America, Worldwide
“The Shadow Garden” Kosovo Theatre Showcase

13th November 2023 | Kosovo, Review, Theatre and Politics
“The Interview” Review: A Blend of Fact and Speculation

10th November 2023 | Review, United Kingdom
Wicked the Musical Celebrates Its 20th Anniversary On Stage. An Exclusive Interview With Adam Garcia – the Original Fiyero of the West End.

9th November 2023 | Interview, Musical Theatre, United Kingdom, United States of America
“Negotiating Peace”, Kosovo Theatre Showcase 2023

8th November 2023 | Kosovo, Review, Theatre and Politics
“A Short History of Burgers and Other Stories” Kosovo Theatre Showcase 2023

6th November 2023 | Dramaturgy, Kosovo, Review
Les Saisons de la Création, First Edition of the Tunisian National Theater Festival Ficks Off

6th November 2023 | Festivals, Tunisia
“Boy Parts.” Soho Theatre

5th November 2023 | London, Review, United Kingdom
Venus and Adonis: this “play within a plague” about Shakespeare is wildly romantic, erotic and colorful

5th November 2023 | Australia, Review, Theatre and Gender
“Gadjo (The Young Europeans)” Kosovo Theatre Showcase 2023

2nd November 2023 | Kosovo, Review, Theatre and Politics
SheNYC Takes the Stage: “Fort Huachuca” and “Bloodshot” at A.R.T./NY

1st November 2023 | New York, Playwriting, Review, Theatre and Gender, United States of America

October

“La Regenta” as Opera: a Coruscating Portrait of Smalltown Community Abuse

30th October 2023 | Review, Spain
Leonard Okware: 39 Years Behind the Lights

29th October 2023 | Directing, Essay, Uganda
The Danger Within: “Asesinato y adolescencia” / “Assassination and Adolescence” Opens the Español’s Season at Madrid’s Matadero

28th October 2023 | Review, Spain
“Blue Mist,” Royal Court

28th October 2023 | London, Review, Theatre and Politics, United Kingdom
Floating Islands of AI: Agrupación Señor Serrano’s “La isla/The Island” in Madrid

27th October 2023 | Review, Spain
“Strength, Don’t Let Yourself Be Anyone’s” – BITEF, Belgrade, Serbia

26th October 2023 | Festivals, Review, Serbia
“My Sister Jill:” Patricia Cornelius’ New Play is a Blistering Post-War Social and Cultural Commentary

25th October 2023 | Adaptation, Australia, Review
Tartuffe or the Hypocrite: Tartare of Tartuffe

25th October 2023 | Directing, Festivals, Hungary, Review, Theatre Olympics 2023
James Fritz’s The Flea at the Yard Theatre: History Play Gives a Queer Reading of the Cleveland Street Scandal of 1889

24th October 2023 | London, Review, Theatre and Gender, United Kingdom
Lolita Chakrabarti’s Hamnet at the Garrick Theatre: Pedestrian Adaptation of Maggie O’Farrell’s Bestseller About Shakespeare’s Wife and Son

23rd October 2023 | Adaptation, Books, London, Review, United Kingdom
The Life of Three “Best Friends:” Anat Gov’s Feminism at the 14th Street Y

22nd October 2023 | Adaptation, New York, Review, Theatre and Gender, United States of America, Worldwide
Groundbreaking Autistic-Led Production of “A Curious Incident of the Dog in the Night-Time” at A Common Thread Theatre Company in Framingham, MA

21st October 2023 | Boston, Interview, Theatre and Disability, United States of America
“The Overcoat:” A Balaganza of Absurdity and Travesty.

18th October 2023 | Georgia, Review, Theatre Olympics 2023
The Ephemera of the Cherry Orchard: Agnieszka Kazimierska’s “Katie’s Tales”

18th October 2023 | Interview, New York, Theatre and Gender, Theatre and Politics, United States of America, Worldwide
Tanika Gupta’s “The Empress” at the Lyric Hammersmith: Epic RSC History Play Tackles Race and Empire

18th October 2023 | India, London, Review, Theatre and Decolonization, Theatre and Politics, United Kingdom
“Leaning Church”: The Voices of a Vanished City

17th October 2023 | Czech Republic, Festivals, Review, Theatre and Politics, Theatre Olympics 2023
“Cake: The Marie Antoinette Playlist” Review: An Absolute Treat

16th October 2023 | Review, United Kingdom
“Kinder” Review: Tackling Big Issues One Little Footstep At A Time

16th October 2023 | Europe, Review, Theatre for Young Audiences, United Kingdom
The Tony Blair Rock Opera Features Bagpipes, Lady Macbeth and a Wrestling Match With Gordon Brown

15th October 2023 | Review, Theatre and Politics, United Kingdom
“Fear Eats The Soul”: Love In The Grip of Hate

11th October 2023 | Adaptation, Festivals, Germany, Review, Theatre and Film, Theatre Olympics 2023
Little Thumb on the Prairie

11th October 2023 | Review
James Reaney’s “The Donnelly Trilogy” and the Making of the Canadian Nation

10th October 2023 | Canada, Documentary Theatre, Review
She Arts Festival Launches In Cairo

10th October 2023 | Egypt, Festivals, News
“The Book of Ruth”: Kaddish For Peaceful Life

9th October 2023 | Festivals, Romania, Theatre Olympics 2023
“Look What You Made Me Do”: Marketing “POTUS” on Social Media

9th October 2023 | Dramaturgy, Transmedia, United States of America
“Gulliver’s Travels”: a Lesson in Satire for Children.

8th October 2023 | Czech Republic, Festivals, Hungary, Poland, Puppetry, Review, Theatre for Young Audiences
Keeping Alive the U.N.’s Dialogue Among Civilizations – as Theatre

6th October 2023 | Boston, Interview, United States of America
A Journey of Discovery and Identity Formation: “The Dictionary of Lost Words” Makes Its Wonderful Stage Debut

5th October 2023 | Adaptation, Australia, Review
On Stage And In A Wheelchair

5th October 2023 | China, Review, Theatre and Disability
“That Face” at Orange Tree Theatre

3rd October 2023 | Adaptation, Playwriting, Review, United Kingdom
God Is Alive, Magic Is Afoot

1st October 2023 | Dramaturgy, Essay, South Africa, Theatre and Decolonization

September

“Amahemhem”: Walking Alongside the Ghosts of Our Past

29th September 2023 | Devised Theatre, Review, South Africa, Theatre and Decolonization
Sydney Theatre Company’s “The Importance of Being Earnest”: Fresh, Funny and Completely Joyous

28th September 2023 | Acting, Adaptation, Australia, Review, Sydney, Theatre and Politics
Edinburgh Festivals, May Luck Be With You

28th September 2023 | Edinburgh 2023, Review, Scotland
Nice to MITEM you: the 10th edition of the Madách International Theatre Meeting Opens in the Hungarian Capital

27th September 2023 | Festivals, Hungary, News
A Performance of Pediophobia: “Nightmare Dollhouse” Brings Uncanny Horror to NYC

27th September 2023 | Immersive Theatre, Interview, New York, United States of America
Sweeney Todd: Not a Demon, But a Barber of Fleet Street

24th September 2023 | Musical Theatre, New York, Review, United States of America
Lauren Gunderson’s Anthropology at the Hampstead Theatre: Interesting Digital Thriller Falters On The Edge of Darkness

22nd September 2023 | Review, United Kingdom
Renée Fleming’s Cities That Sing

21st September 2023 | News, Theatre and Opera, United States of America
“What the Constitution Means to Me” Is As Timely As Ever

21st September 2023 | Review, Theatre and Politics, United States of America
“We Have To Bring Awareness About The Consequences Of Our Habits Here And Now.”

21st September 2023 | Belgium, Interview, Transcultural Collaborations
“German Autumn” At The Uppsala Stadsteater

20th September 2023 | Review, Sweden
Assam’s First Female Freedom Fighter, Shot a Century Ago, Rediscovered Onstage

20th September 2023 | India, News, Theatre and Decolonization, Theatre and Gender, Worldwide
Anupama Chandrasekhar’s “The Father And The Assassin” At The National Theatre: Vastly Compelling And Darkly Comic History Play About Indian Independence

19th September 2023 | Documentary Theatre, India, Review, Theatre and Politics, United Kingdom
A Tweet About “Psycho”

16th September 2023 | Adaptation, Azerbaijan, Review
How Urdu Theater Is Reaching Out to New Audiences

14th September 2023 | Festivals, India, News
Notch Theatre Company’s “Wild Home” To Host Community Event On September 13th

13th September 2023 | News, Participatory Theatre, Theatre and Politics, United States of America
Miriam Battye’s Strategic Love Play At The Soho Theatre: Mixture Of Laughter, Pain And Insight Into Contemporary Romance

11th September 2023 | Review, United Kingdom
“Stumped.” Live Theatre In The Age Of Hybrid Realities.

10th September 2023 | Review, Transmedia, United Kingdom
“Writing Using:” Framing the Body’s Process of Liberation Through Contemporary Dance

9th September 2023 | Review, South Korea, Theatre and Dance
Polish People Deserve Better From Irish Theatre…

7th September 2023 | Essay, Ireland, Management, Poland, Theatre and Politics
All The Conflicts In The Social Theatre Today: Interview With Fabio Tolledi

7th September 2023 | Directing, Interview, Italy
68th Sterijino pozorje: A critical dialogue

6th September 2023 | Festivals, Review, Serbia
Tim Fraser’s Candy At Park Theatre: Moving Account Of Gender Identity And Masculinity

6th September 2023 | Review, United Kingdom
Institutional Logic Of The System: Young Artists Are Excluded From Public Funding. An Interview With Franco Ungaro

6th September 2023 | Interview, Italy, Management
“All the world’s a stage, and all the men and women merely players” at Shakespeare Festival in Serbia

5th September 2023 | Festivals, Review, Serbia
UNBOX ME! Live Theatre and the Virtual World.

4th September 2023 | Review, Transmedia, United Kingdom
“A Mirror” at Almeida Theatre

3rd September 2023 | Acting, London, Review, United Kingdom
“Radio Man:” A Story of Connection and Bloodshed in Dystopian America

2nd September 2023 | LGBTQ+ Theatre, New York, Review, Theatre and Gender, United States of America
Once Upon a Warning for Next Time

1st September 2023 | Musical Theatre, New York, Review

August

New Aussie Musical “Bloom” Misses An Opportunity To Interrogate The Gaps In Aged Care – And In Our Social Fabric

29th August 2023 | Australia, Melbourne, Review, Theatre and Age
Edinburgh Fringe 2023: Overview

22nd August 2023 | Edinburgh 2023, Review, Scotland
The Echoes Of Lawino Reverberate In Uganda

22nd August 2023 | Adaptation, Review, Uganda
Lucy Prebble’s “The Effect” At The National Theatre: Non-White Cast Bring A New Energy To This Contemporary Classic

21st August 2023 | Review, United Kingdom
Edinburgh Fringe 2023: “Lucy and Friends,” Pleasance Courtyard

20th August 2023 | Edinburgh 2023, Review, Scotland
Edinburgh Fringe 2023: #Danish Ed Fringe

19th August 2023 | Denmark, Edinburgh 2023, Review, Scotland
Big In Belgium At The Edinburgh Fringe 2023

18th August 2023 | Belgium, Edinburgh 2023, Review, Scotland
Ukraine Fringe: Festival For The Brave To Be Held In Blended Form From August 21st To September 3rd

18th August 2023 | Festivals, News, Ukraine
Edinburgh International Festival 2023: “FOOD” By Geoff Sobelle

17th August 2023 | Edinburgh 2023, Review, Scotland
“Rock Follies” Review: Powerful New Musical Brings 1970s Feminist TV Sensation to the Stage

16th August 2023 | Adaptation, Review, Theatre and Gender, United Kingdom
Poland at The Edinburgh Fringe 2023: Lubuski Teatr’s “Gusła” And The Song Of The Goat’s “Andronicus Synecdoche”

16th August 2023 | Edinburgh 2023, Poland, Review, Scotland
Edinburgh International Festival 2023: “Trojan Women” By The National Theatre Of Korea

16th August 2023 | Edinburgh 2023, Review, Scotland, South Korea
Memorial To Professor Maya Harbuzyuk

15th August 2023 | News, Ukraine
Meeting The Public Is The Most Important Incentive For Those Who Do Theatre: An Interview With Walter Prete

14th August 2023 | Dramaturgy, Interview, Italy, Translation
Brian Friel’s Dancing At Lughnasa At The National Theatre London

10th August 2023 | Ireland, Review, United Kingdom
Interview With Ulviyya Heydarova

9th August 2023 | Azerbaijan, Dramaturgy, Interview
“Habitat” by Doris Uhlich: Performing a Landscape of Naked Bodies

6th August 2023 | Denmark, Review, Theatre and Art
Natalia Lizorkina’s “Vanya is Alive” Is Both A Play and Witness Statement

5th August 2023 | Festivals, Review, Russian Theatre Abroad, Theatre and Politics, United Kingdom
I Can’t Imagine Anybody Would Come Out Of “On The Beach” And Not Hold Their Loved Ones Just That Little Bit Closer

5th August 2023 | Australia, Review, Sydney, Theatre and Politics
“Beneatha’s Place,” Young Vic

4th August 2023 | London, Review, Theatre and Politics, United Kingdom
Egypt Joins Jordan’s Open-Space Theatre Festival

3rd August 2023 | Festivals, Jordan, News

July

Craft of “Downton Abbey” and “Gilded Age” Director, Michael Engler

28th July 2023 | Directing, Interview, New York, Theatre and Film, United States of America
“Kiss” at the Wilma Theater

27th July 2023 | Review, Transcultural Collaborations, Translation, United States of America
Doulas as Resistance: The Anthropologists’s “axes, herbs and satchels”

26th July 2023 | Devised Theatre, Editorial, New York, Theatre and Decolonization, United States of America
Stephen Brown And Mark Rylance’s “Dr Semmelweis” At The Harold Pinter Theatre

25th July 2023 | Review, Theatre and Science, United Kingdom
Monsters, Mayhem, and Maturation: “The Trouble with Dead Boyfriends” at the Players Theatre

24th July 2023 | New York, Review, Theatre and Gender, United States of America
“Notre Dame de Paris”: Frollo’s Inner Struggle. An Exclusive Interview with Daniel Lavoie

15th July 2023 | Interview, Musical Theatre, New York, United States of America
“All About Making Things”: An Exclusive Interview with Matthew C. Yee (Part II)

13th July 2023 | Chicago, Interview, Musical Theatre, United States of America
“All About Making Things”: An Exclusive Interview with Matthew C. Yee (Part I)

11th July 2023 | Chicago, Interview, Musical Theatre, United States of America
Eugene Ma Wants to Shake Up Hong Kong Theater

10th July 2023 | Directing, Essay, Hong Kong, Musical Theatre
Sarah Middleton’s “Shewolves” at the Southwark Playhouse: Energetic Teen Fairy Tale

6th July 2023 | Review, Theatre and Science, United Kingdom
James Graham’s “Dear England” At The National Theatre: Joseph Fiennes Plays A Mesmerizing Soccer Manager In This Sport-Of-The-Nation Drama

3rd July 2023 | Review, United Kingdom
A Beloved Chinese Classic Gets a Weightless Adaptation

1st July 2023 | China, Chinese Theatre and Opera, Review
On China’s Broadway, IP Is King — For Now

1st July 2023 | China, Essay, Musical Theatre

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