Back to the Updated Future: Rock Opera “Starmania” – 45th Anniversary
In 1979 the very first French iconic rock opera – Starmania, created by Michel Berger...
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France
Theatre as Confrontation: Catherine Filloux’s “How to Eat an Orange” at La MaMa
Catherine Filloux is an internationally recognized French-Algerian playwright. Her work revolves...
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“Miss Saigon”: Déjà vu. An exclusive interview with Claude-Michel Schönberg
Dedicated to the 35th anniversary of the musical Miss Saigon, an exclusive interview with the...
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More Equal Theatre-Making in Europe: Reflection on Creative Europe and Practical Difficulties from Multilingual Perspectives
The Jeune Théâtre Européen Jeunes Publics (Young European Theatre for Young Audiences) (JTEJP)...
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Multilingual Theatre For/With Young Audiences: On the Jeune Théâtre Européen Jeunes Publics Project
The growing levels of migration results in an increasing number of children across Europe growing...
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Peter Sellars’ “Beatrice di Tenda”: Freedom, Defiance, and Tyranny
Vincenzo Bellini’s penultimate opera, Beatrice di Tenda, rests between two more frequently...
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“The Maids” by Genet: The Logic of the Paradox
Dedicated to the 70th anniversary of the first publication and production of Jean Genet’s unique...
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Léonora Miano On “What Must be Said”
The stage adaptation of Léonora Miano’s Ce qu’il faut dire (or “What Must be Said”) addresses a...
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“Al Capone the musical” à la Francaise
The Italian American gangster – Al Capone (Alphonse Gabriel Capone), who reigned as a crime boss...
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Kenyans Get a Taste of “The French Shakespeare”
Alliance Française de Nairobi celebrated of the fourth centenary of Molière’s birth with an...
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Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part II
This is Part 2 of the bipartite report. To read Part 1, click here. Anaïs Nin au Miroir, written...
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Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part I
I arrived at the 2022 Avignon Theatre Festival seeking emotional rejuvenation after two years of...
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The Musical “Notre Dame de Paris” Returns to the United States
At the turn of the century, in 1998, Luc Plamondon created one of the greatest musicals Notre Dame...
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Farrah El Dibany: First Egyptian and Arab to Perform at Paris Opera
I’m honored to be recognized by Egyptian and French presidents, says El Dibany. Egpytian...
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From a Position of Perspectives: An Interview with Patrice Pavis
There is always a cultural gap between scholars and artists, each group being suspicious of the...
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“Black Boy,” or What to Do with the White Theatre Critic
What do you do when you are blown away by a show, and yet you know that there is something...
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The Power of Reflection in “Portrait Avedon-Baldwin, Entretiens imaginaires” at the Théâtre du Rond Point, Paris
One of France’s greatest prides is the network of African American artists who, in the...
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(Not) Adapting to the French Stage: “Les Producteurs”, Directed by Alexis Michalik, at the Théâtre de Paris
A week after Josephine Baker posthumously entered the French Panthéon, a musical about two...
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A New Staging of Enesco’s “OEdipe” at Paris Opera by Wajdi Mouawad
It’s been nearly 100 years since George Enesco’s Œdipe (Oedipus) was created to much success on...
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Interview with Choreographer-Director Aguibou Bougobali Sanou
Aguibou Bougobali Sanou (known as Bougobali) is a choreographer, performer, and director of the...
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