November

Starlight Express The Musical: 40 Years in The Orbit

14th November 2024 | Europe, Germany, Interview, Musical Theatre, Review
Capitalism Meets Austerity in Àlex Rigola’s “Glengarry Glen Ross”

11th November 2024 | Review, Spain
Chela De Ferrari’s “The Seagull”: Theatre, Identity and Unrequited Love

10th November 2024 | Review, Spain
Shakespeare In Iraq: An Interview With Dr. Samir Talib

9th November 2024 | Interview, Iraq, Theatre and Politics
The Many Monsters of Ars Nova’s “The Beastiary”

7th November 2024 | New York, Puppetry, Review, United States of America
“Kafkaesque!” A Musical That Is As Hilarious As It Is, Well, Kafkaesque

5th November 2024 | Musical Theatre, New York, Review, United States of America
Ché Walker’s Burnt-Up Love at the Finborough Theatre: Crime and Redemption In A Shining Gem Of A Show

1st November 2024 | London, Playwriting, Review, United Kingdom

October

“Ghosts of My House” In İstanbul: A Contemporary Canadian Play Out Of Context Or Domesticating Whiteness

31st October 2024 | Review, Theatre and Politics, Turkey
“1981” directed by Tomi Janežič at Novi Sad Theatre

30th October 2024 | Acting, Directing, Review, Serbia
Director Laura Jones’ Career-Long Exploration Of Beckett Concludes With “Godot”

26th October 2024 | Essay, Review, United States of America
Trans Joy in The Christine Jorgensen Show

25th October 2024 | LGBTQ+ Theatre, New York, Review, United States of America
“Tattooer” At Atelier Shunpusha: “Tattooer” Reworks Tanizaki’s Japanese Tale Of Desire And Power With Subtlety And Verve

23rd October 2024 | Japan, Review, Theatre and Gender, United Kingdom
Regional Producing Theatres In England. Leeds Playhouse: A Case Study

22nd October 2024 | Essay, Management, United Kingdom
Deep Thoughts on Deep History at The Public Theater

22nd October 2024 | New York, Review, Theatre and Science, United States of America
“In The Name Of Profit” At Fringe Milano Off

20th October 2024 | Festivals, Italy, Review
Robert Icke’s Oedipus at Wyndham’s Theatre: Lots Of Stunning Acting Compensates For Some Questionable Writing

20th October 2024 | Adaptation, London, Review, United Kingdom
Trauma In Translation: Stratford’s Milestone Salesman In China

19th October 2024 | Canada, China, Review, Theatre and Politics
Electrifying Ensemble Performance and Political Satire in New Māori Play: “Unreel” by Helen Pearse-Otene

15th October 2024 | Education, New Zealand, Review, Theatre and Decolonization
“Paisatges Compartits (Shared Landscapes)”, A Pleasant Day of Theatrical Land Art

15th October 2024 | Festivals, Review, Spain
La Vie En Sickly Rose: Florian Zeller’s “The Son” at the German State Theatre

13th October 2024 | Review, Romania, Theatre and Politics
“Eréndira”: Show Business As Usual

12th October 2024 | Review, Romania
Theatrical Tectonics: The Slowdown Entertainment of a José Rivera Play

11th October 2024 | Review, Romania
“Border” And “Sheol/שאול” – Wachowicz/Fret Studio At Edinburgh Festival Fringe 2024

10th October 2024 | Edinburgh 2024, Poland, Review, United Kingdom
On State Theatres and Minoritarian Theatres: Interview with Andrea Wolfer, Head of the Dramaturgy and PR Department of the German State Theatre in Timișoara, Romania

9th October 2024 | Interview, Romania, Theatre and Politics
Meet ONG Keng Sen, the Artistic Director of Singapore’s T:>Works and Keynote Speaker at the 2024 Singapore Literature Festival in NYC

9th October 2024 | Adaptation, Festivals, Interview, Singapore
Mozart! The Gem of European Musical Theatre

8th October 2024 | Austria, Interview, Musical Theatre
Mark Rosenblatt’s Giant at the Royal Court: Provocative Drama About Anti-Semitism Is A Superb Play Of Ideas

7th October 2024 | Books, Review, Theatre and Politics, United Kingdom
The Perils of Parody in Forbidden Broadway: Merrily We Stole A Song

2nd October 2024 | Musical Theatre, New York, Review, United States of America
Pari Saberi: A Pioneering Woman In Iranian Theatre Passes Away At 92

1st October 2024 | Iran, News, Theatre and Gender

September

Report From The Underground: A New Iranian Theatre

25th September 2024 | Essay, Iran, Theatre and Politics
On The Other Side Of The Conundrum – A New Drama Inspired By “Picnic At Hanging Rock” In The National Theater Of Warsaw Poland [Part III]

23rd September 2024 | Poland, Review, Theatre and Decolonization
On The Other Side Of The Conundrum – A New Drama Inspired By “Picnic At Hanging Rock” In The National Theater Of Warsaw Poland [Part II]

23rd September 2024 | Poland, Review, Theatre and Decolonization
On The Other Side Of The Conundrum – A New Drama Inspired By “Picnic At Hanging Rock” In The National Theater Of Warsaw Poland [Part I]

23rd September 2024 | Poland, Review, Theatre and Decolonization
“The Most Daring Adventure Is Practicing Theater Remotely.” An Interview With Telematic Theater Pioneer Marina Hanganu [Part II]

18th September 2024 | Interview, Romania, Transcultural Collaborations, Transmedia
“The Most Daring Adventure Is Practicing Theater Remotely.” An Interview With Telematic Theater Pioneer Marina Hanganu [Part I]

18th September 2024 | Interview, Romania, Transcultural Collaborations, Transmedia
Timberlake Wertenbaker’s “Our Country’s Good” at the Lyric Hammersmith: Slightly Updated Classic Grounded by an Awkward Production

12th September 2024 | Review, Theatre and Politics, United Kingdom
Representation Of Women In Iraqi Theatre: An Interview With Playwright And Director Dr. Awatif Naeem

11th September 2024 | Interview, Iraq, Theatre and Gender
It Takes Artistry to Make Theatre for Young Audiences: New Theatre for Children Festival, Wrocław 2024

7th September 2024 | Czech Republic, Essay, New Theatre for Children Festival, Wrocław 2024, Norway, Poland, Slovakia, Theatre for Young Audiences, United Kingdom
“Dziwna Wiosna”: About Cruelty Without Brutality or a War Story for the Young Children

7th September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Theatre for Young Audiences, Ukraine
Tom Stoppard’s The Real Thing at the Old Vic: Spirited and Highly Enjoyable Revival of Semi-Autobiographical Love Drama

6th September 2024 | London, Review, Theatre and Politics, United Kingdom
Performance That Every Man Should See, And No Child Should

6th September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Theatre for Young Audiences
Post-Colonial B-Horror: “The Visitors” at Volksbühne Berlin

5th September 2024 | Germany, South Africa, Theatre and Dance, Theatre and Decolonization
“Ja Goryl, Ty Człowiek:” Understanding Koko

4th September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Theatre for Young Audiences
“My Mother’s Funeral”

4th September 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
“PÚPÄTKO” from the Slovak Ján Palárik Theatre

2nd September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Slovakia
“Drapando:” Scratching For A Connection

2nd September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Theatre for Young Audiences
“Púpätko” at the 7th New Theatre for Children Festival

1st September 2024 | New Theatre for Children Festival, Wrocław 2024, Poland, Review, Slovakia

August

“The Popess” Visits The Edinburgh Fringe Festival

31st August 2024 | Edinburgh 2024, Italy, Review, United Kingdom
“Malvolio’s Fantasy.” A Glitzy Retelling Of Twelfth Night

31st August 2024 | Adaptation, Edinburgh 2024, Review, Scotland
Contemporary Transnationalism Theatre in China: Theatre Review of “Apple Tree” directed by Feng Lu

30th August 2024 | China, Review, Theatre and Politics
Edinburgh Festival Fringe 2024 Overview

29th August 2024 | Edinburgh 2024, Review, United Kingdom
“L’Addition,” S’il Vous Plait

29th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
Adapting Lu Xun for the Contemporary Stage: A Production by China’s Central Academy of Drama at the Edinburgh Fringe Arts Festival: “ZhuJian (Forging the Swords)”

28th August 2024 | China, Chinese Theatre Abroad, Edinburgh 2024, Review
Intercultural Chinese Dance Artist in the UK: Interview with Joanna Hangyu Zhou

28th August 2024 | China, Chinese Theatre Abroad, Edinburgh 2024, Interview
Acting As Social Practice: Theater As A Tool To Initiate Dialogue In A Hyperdiverse Immigration Society

26th August 2024 | Essay, Germany, Theatre and Politics
A Stinging Critique of the American Dream Underlies “The Queen of Versailles”

23rd August 2024 | Boston, Dramaturgy, Essay, Musical Theatre, United States of America, Worldwide
Samuel Beckett’s “Krapp’s Last Tape” In The Digital World Of Zoom Theatre

23rd August 2024 | Review, Transmedia, United Kingdom
The Music of Magical Worlds. An Exclusive Interview with Alan Menken

23rd August 2024 | Interview, Musical Theatre, United States of America
Oscar Barney Finn and Paulo Brunetti Interview

20th August 2024 | Adaptation, Argentina, Interview
“The Amazing Doctor She Medicine Show”

19th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom, United States of America
Climate Change Shakespeare. “A Midsummer’s Tempest”

18th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
Dialoguing With The Classics In Madrid: “La Fortaleza/The Fortress” And “Macho Grita/Alpha Male Shouts”

16th August 2024 | Review, Spain, Theatre and Politics
Bologna To Edinburgh Non-Stop

16th August 2024 | Edinburgh 2024, Festivals, Italy, Review, United Kingdom
Scottish Nursery School Kids Bring A Comedic Shakespeare To The Fringe

16th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
Luke Wright, A Spoken-Word Poet At The Top Of His Game

16th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
“Freak Out!” A Heady Cocktail About Climate Change

16th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
“In Two Minds.” Female Led Irish Storytelling

15th August 2024 | Edinburgh 2024, Festivals, Ireland, Review, Theatre and Science, United Kingdom
Tampere Theatre Festival 2024: Asking Important Questions About Theatre and Democracy

15th August 2024 | Festivals, Finland, Review, Tampere Theatre Festival 2024
“Catarina and the Beauty of Killing Fascists” at the Tampere Theatre Festival: Do We Defend Democracy by Breaking Its Rules?

15th August 2024 | Festivals, Finland, Portugal, Review, Tampere Theatre Festival 2024
“Penthesilea” After Von Kleist. Let’s Rock

14th August 2024 | Edinburgh 2024, Festivals, Netherlands, Review, United Kingdom
“Hamstrung.” Yorick’s Untold Story

14th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
Isabella Rossellini at Rubix Festival in Montenegro

14th August 2024 | Acting, Festivals, Montenegro, Review
“The Outrun”

13th August 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
It Could Happen: Interview with Playwright Sean King and Director William Roudebush

11th August 2024 | Interview, New York, United States of America
A Faustian Bargain Itself: Emursive’s “Life and Trust”

7th August 2024 | Immersive Theatre, New York, Review, United States of America

July

The Many Publics Of “The Marché Des Arts Du Spectacle D’Abidjan”

30th July 2024 | Côte d'Ivoire, Essay, Festivals, Transcultural Collaborations
52nd Venice Theatre Biennale (15-30 June). Gob Squad’s “Elephants In Rooms” And “Creation (Pictures For Dorian)”

28th July 2024 | Festivals, Italy, Review, Transmedia
“Wine & Halva:” Post-Migration And The Limits Of Western Liberalism

26th July 2024 | Canada, Review, Theatre and Politics
“Macbeth (An Undoing)”: A New Take That Aims To Reimagine Lady Macbeth’s Path – But Ultimately Leaves You Guessing

24th July 2024 | Adaptation, Australia, Review
“The Hope Theory:” A Recipe For Believing In Your Dreams

24th July 2024 | Review, Transcultural Collaborations, United States of America
TheTheatreTimes.com wins the 2024 ATHE-ASTR Award for Excellence in Digital Scholarship

22nd July 2024 | News, United States of America
Wajdi Mouawad’s “Littoral”: Searching for Peace Through the Devastation of War

22nd July 2024 | Canada, Lebanon, Review, South Korea, Theatre and Politics
Back to the Updated Future: Rock Opera “Starmania” – 45th Anniversary

21st July 2024 | France, Interview, Musical Theatre, Review
Bell Shakespeare’s New “King Lear” Understands The Joy Of A Good Tragedy

20th July 2024 | Australia, Dramaturgy, Review, Sydney
The “ETC Theatre Green Book” and Theatre-making During Climate Crisis

20th July 2024 | Essay, Europe, Theatre and Science
New Aussie Play “Hits” Reclaims The Rush Of First Concerts And Band Culture For Young Women

20th July 2024 | Australia, Review, Theatre for Young Audiences
“Dorian the Musical:” This Rock Adaptation Of Oscar Wilde’s Classic Missteps At Every Turn

19th July 2024 | Musical Theatre, Review, United Kingdom
Jordan Cheng: The Genial Striver Of Hong Kong Musical Theatre

19th July 2024 | Hong Kong, Interview, Musical Theatre
52nd Venice Theatre Biennale (15-30 June). Tim Crouch’s “Truth’s A Dog Must To Kennel”

18th July 2024 | Dramaturgy, Festivals, Italy, Review
Miss Julie: Amy Ng Brings A “Problem Play” To Hong Kong

17th July 2024 | Hong Kong, Review, Theatre and Politics
At This Year’s Rising Festival, I Was Most Excited By The New And Unexpected Audiences

16th July 2024 | Australia, Festivals, Melbourne, Review
Sydney Theatre Company’s “Dracula”: A Virtuosic Performance, Sexy Staging, And A Queer Rewriting

16th July 2024 | Adaptation, Australia, Review
Make Your Classroom Multilingual: On Training Students For Rapidly Changing Cultural Landscapes

15th July 2024 | Education, Essay, Poland, Theatre and Politics
“Cats”: The Jellicle Ball is near Purrfect

13th July 2024 | LGBTQ+ Theatre, New York, Review, United States of America
New Buds on a Fertile Island: New Play Development in Taiwan, Part 1

11th July 2024 | Dramaturgy, News, Playwriting, Taiwan
New Buds on a Fertile Island: New Play Development in Taiwan, Part 2

11th July 2024 | News, Playwriting, Taiwan
Adelaide Cabaret Festival Understands How Its Audiences Long For Connection and Community

10th July 2024 | Australia, Festivals, Review
Medea as a Border-Body [Part I]

10th July 2024 | Review, Theatre and Politics, United States of America
Medea as a Border-Body [Part II]

10th July 2024 | Review, Theatre and Politics, United States of America
Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 1.

9th July 2024 | Interview, Theatre and Politics, Ukraine
Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 2.

9th July 2024 | Interview, Theatre and Politics, Ukraine
At the Intersection of Interactive Mediums: “DIRT” Blends Games and Theater at The Tank

8th July 2024 | Interview, New York, United States of America
“Invisible Lands,” Bodies, Gods, and… People

7th July 2024 | Review, Romania, TESZT 2024, Transmedia
The Bounds, Royal Court

4th July 2024 | Dramaturgy, Review, United Kingdom
Water for Elephants: a Musical or a Circus Drama?

4th July 2024 | Musical Theatre, New York, Review, United States of America
New Play “American Signs” Looks At The Nefarious World Of Consultancies – But Leaves Australia Off The Hook

3rd July 2024 | Review, Theatre and Politics, United States of America
Miangaly Theatre Company: Defining the Stage in Madagascar

3rd July 2024 | Essay, Madagascar, Management
“Pericles” – An Odyssey from Timișoara

1st July 2024 | Review, Romania, TESZT 2024, Transmedia
“Youth Without God;” Unkind, Realistic Reminder

1st July 2024 | Review, Romania, TESZT 2024, Transmedia

June

“The Marilyn Conspiracy,” Park Theatre

30th June 2024 | London, Review, United Kingdom
“The Constituent,” Old Vic

30th June 2024 | Review, Theatre and Politics, United Kingdom
Death Is Funny, Death is Lame, Death is Sudden, Death Can Happen to “Anybody”

29th June 2024 | Review, Romania, TESZT 2024, Transmedia
“My Father’s Fable,” Bush Theatre

25th June 2024 | Nigeria, Review, United Kingdom
“Laughs In Spanish” Review

25th June 2024 | Review, Theatre and Gender, United States of America
How Padmavati Rao Embraces Life Through Theatre And Activism

23rd June 2024 | Acting, India, Review
The Plasticity of Perception: “Babies on the Street: The Show” Brings Internet Drama to The Brick

23rd June 2024 | Interview, New York, United States of America
Exploring A Dystopian World: Where Water Reigns Supreme In Human Transactions

21st June 2024 | Review, Theatre and Science, United States of America
TESZT 15: Euroregional Theatre Festival Timișoara, Romania (19-26 May, 2024)

20th June 2024 | News, Romania, TESZT 2024
Critical Generosity as a Decolonial Praxis

19th June 2024 | Austria, Review, Theatre and Decolonization
CPH Stage Festival 2024

18th June 2024 | Denmark, Festivals, Review
When Sondheim Meets TikTok

18th June 2024 | Musical Theatre, United States of America
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
Eazees Int’l Women’s Theatre Festival Concludes Its Activities At Cairo Opera House

1st June 2024 | Egypt, Festivals, News
When Theatre Meets Gaming: “Third Law” at Culture Lab LIC

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

May

Holes In The Hole

30th May 2024 | New York, Review, Theatre and Politics, United States of America
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
Obari Gomba’s Grit and the Politics of Vendetta

9th May 2024 | Nigeria, Review, Theatre and Politics
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
“Gunter,” Royal Court

4th May 2024 | Review, Theatre and Gender, United Kingdom
Retro-futurist Green Theatre: Trick of the Light’s “Suitcase Show”

2nd May 2024 | New Zealand, Puppetry, Review
“The Divine Mrs S,” Hampstead Theatre

1st May 2024 | Documentary Theatre, Review, United Kingdom

April

I Wholeheartedly Recommend “The President:” A Brilliant Revival Of A Play Of Decay, Terror And Revulsion

30th April 2024 | Australia, Review, Theatre and Politics
Mad Spring Roundup

29th April 2024 | Review, Theatre and Politics, United States of America
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
“London Tide,” National Theatre

22nd April 2024 | Dramaturgy, Review, United Kingdom
“That Perfect Dark”: Samuel Beckett’s “Company” in Dunedin

19th April 2024 | Adaptation, New Zealand, Review, Worldwide
The Comeuppance, Almeida Theatre

18th April 2024 | Acting, Review, United Kingdom
‘Strong Theatre With Unwavering Precision’: Into The Shimmering World Asks Us What Does It Mean To Be Good?

16th April 2024 | Australia, Review, Theatre and Gender
Anything Can Be Bought If The Price Is Right: Juan Mayorga’s “La Colección” (The Collection)

12th April 2024 | Review, Spain
Who’s Afraid of Thomas Stockmann?

10th April 2024 | Immersive Theatre, New York, Review, United States of America
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
“Brother-Brother” by Cheta Igbokwe: A Quest for Long Lives Leads to Quick Deaths

30th March 2024 | Directing, Nigeria, Review
Love, Loss And Tears – But Also Laughter: Belvoir’s Compelling And Skilful Staging Of “Holding The Man”

28th March 2024 | Australia, LGBTQ+ Theatre, Review
Doubtless Doubt

25th March 2024 | New York, Review, Theatre and Religion, 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
Respect And Disrespect Clash Throughout 37 – A Brilliant New Play Exploring Australian Rules Football

23rd March 2024 | Australia, Documentary Theatre, Review
“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
“London Zoo,” Southwark Playhouse

19th March 2024 | Review, Theatre and Politics, United Kingdom
“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
Alaa Abdel-Aziz, Playwright, Former President Of Cairo Int’l Fest For Experimental Theatre, Dies

7th February 2024 | Egypt, Festivals, News
“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

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