A Blast from the Past: Les Champignons de Paris by La Compagnie du Caméléon
On June 13, 2022, I spoke with Guillaume Gay, who is operational and artistic director of the...
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Lara Cox
Interactive Map: “Theatre and Decolonization” at “The Theatre Times”
Over the years, our contributors have been addressing the topic of decolonization in theatre and...
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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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Playing with “White is Purity” in Pirandello’s “Comme tu me veux”
In 2017, the cosmetics company Nivea released an advert that was promptly pulled: a white woman’s...
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Immersion and Spectator Self-Reckoning: “Boxing Shadows” at the Avignon Theatre Festival
One of the highlights of this year’s Avignon Festival was Boxing Shadows, written especially by...
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Theatre in the Time of Protest: “Glass Menagerie” at the Théâtre de l’Odéon
History, as they say, has a habit of repeating itself. When French theatre-makers seized hold of...
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Democratizing the Theatre-Making Process: “Six Characters in Search of An Author”
To re-open its season after the lifting of COVID-19-related restrictions, Paris’s Théâtre de la...
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Spotlight on “Pale Sister”: On Lighting in Digital Theatre
Pale Sister is the latest adaptation of the Sophoclean tragedy, Antigone (c. 441 BC), written by...
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