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Edinburgh Festival Fringe 2025: Provisio...

“No Apologies” by Emma Frank...

“The Ego” by Anemone Valcke ...
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“Thanks for Being Here” by O...

“Aether”, Edinburgh Festival...
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“A Gambler’s Guide To Dying” Set In Glas...

“Athens Of The North” at the...

“Buen Camino,” Edinburgh Fes...
“From Dust.” Another Review. Holland Festival 2025.
by Róisín Daly | Aug 6, 2025 | Holland Festival 2025, Netherlands, Review, Theatre and AI
Stepping into From Dust feels less like attending a performance and more like consciously entering...
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The Theater of Metaverse
by Hayel Ali Al-Mathabi | May 10, 2025 | Essay, Festivals, Theatre and AI, Theatre and Science
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![“Language Is Leaving Me: A Cinematic AI Opera Of The Skin” [Part I]](data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAJYAAACWAQAAAAAUekxPAAAAAnRSTlMAAHaTzTgAAAAaSURBVEjH7cExAQAAAMKg9U9tDQ+gAACAdwMLuAABXZHjmQAAAABJRU5ErkJggg==)
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“Aether”, Edinburgh Festival Fringe 2025


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A Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 2
by Yi-Ming Chen | Jul 21, 2026 | Acting, Directing, Interview, Malaysia, Playwriting, Taiwan, Theatre and Art
(Read the first part of the interview here.) Chen: In your plays, or the ways you answer...
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Sadness And Mourning Dominate Theater Bremen’s “Hamlet”
by Daniel Meyer-Dinkgräfe | Jun 16, 2026 | Acting, Directing, Germany, Review
A Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 2
by Yi-Ming Chen | Jul 21, 2026 | Acting, Directing, Interview, Malaysia, Playwriting, Taiwan, Theatre and Art
(Read the first part of the interview here.) Chen: In your plays, or the ways you answer...
Conor McPherson’s “The Weir” at the Harold Pinter Theatre: Beautifully Acted Revival Of A 1990s New Writing Classic
by Aleks Sierz | Sep 26, 2025 | Acting, Dramaturgy, London, Review, United Kingdom
Perhaps it’s an indicator of the feebleness of new writing after the pandemic that so many of the...
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Annie Jin Wang on Opera Dramaturgy
by Anne Hamilton | Jul 10, 2025 | Dramaturgy, Interview, Theatre and Opera, United States of America
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Ambiguous Space: A Review of the Chinese Play “L’histoire d’un Accident” at Avignon 2025
by Xunnan Li | Jul 26, 2025 | Avignon 2025, China, Chinese Theatre Abroad, Design, Review
Feng Lu’s “L’histoire d’un Accident”, presented in Avignon 2025, offers a layered exploration of theatrical space inspired by Henri Lefebvre’s theory of spatial production. The play unfolds through a play-within-a-play structure, blending backstage conflict, parody, and audience disruption to challenge the boundary between fiction and reality. A planted “spectator” blurs the line between performance and life, turning spatial ambiguity into a central aesthetic strategy. Rather than seeking clarity, the production invites audiences to dwell in uncertainty, where ambiguity becomes an essential part of how space is experienced, performed, and emotionally understood.
Everything In Programming Matters To Cultivate The Spectator`S Free Will
by Ivanka Apostolova Baskar | Apr 7, 2026 | Côte d'Ivoire, Interview, Macedonia, Management
An Interview with Mr. Hassane Kassi Kouyaté, Chair of the International Artistic Committee of MASA...
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Picasso’s “Barber” At The Spanish National Theatre
by Duncan Wheeler | Feb 24, 2026 | Directing, Management, Review, Spain
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A Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 2
by Yi-Ming Chen | Jul 21, 2026 | Acting, Directing, Interview, Malaysia, Playwriting, Taiwan, Theatre and Art
(Read the first part of the interview here.) Chen: In your plays, or the ways you answer...




“Ja Goryl, Ty Człowiek:” Understanding Koko

“PÚPÄTKO” from the Slovak Ján Palárik Theatre

“Drapando:” Scratching For A Connection




“My Mother’s Funeral”

“The Popess” Visits The Edinburgh Fringe Festival


Edinburgh Festival Fringe 2024 Overview

“L’Addition,” S’il Vous Plait


“The Amazing Doctor She Medicine Show”

Climate Change Shakespeare. “A Midsummer’s Tempest”

Bologna To Edinburgh Non-Stop



“Freak Out!” A Heady Cocktail About Climate Change

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“Penthesilea” After Von Kleist. Let’s Rock

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Developing Theatre And Performance Pedagogy Through Marae-based Wānanga In Aotearoa/New Zealand. Part II
by Hilary Halba and Rua McCallum | Apr 22, 2026 | Education, New Zealand, Oceania, Theatre and Decolonization
To read PART I of this essay, go to this link. Having consulted with mana whenua[1]People...
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Everything In Programming Matters To Cultivate The Spectator`S Free Will
by Ivanka Apostolova Baskar | Apr 7, 2026 | Côte d'Ivoire, Interview, Macedonia, Management
An Interview with Mr. Hassane Kassi Kouyaté, Chair of the International Artistic Committee of MASA...
A Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 2
by Yi-Ming Chen | Jul 21, 2026 | Acting, Directing, Interview, Malaysia, Playwriting, Taiwan, Theatre and Art
(Read the first part of the interview here.) Chen: In your plays, or the ways you answer...
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Cross-Border Collaboration
by Joseph Bardin | Jul 15, 2026 | Israel, Review, Syria, Transcultural Collaborations, United States of America
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Harsh And Relentless Social Criticism In Kosky’s Production Of Brecht’s “Threepenny Opera” At The Berliner Ensemble
by Daniel Meyer-Dinkgräfe | Jul 14, 2026 | Acting, Directing, Germany, Review
In nearly all productions of Brecht’s The Threepenny Opera I had seen up to this one, I was struck...
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“Sinfonia”: Stories from Harrogate
by Xunnan Li | Jul 10, 2026 | Review, United Kingdom
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A Magical “Tempest” In Stratford-Upon-Avon
by Margaret Rose | Jun 26, 2026 | Review, Theatre and Politics, United Kingdom
Beyond the Storm, a New York City Opera Thrives
by Marcina Zaccaria | Jul 19, 2026 | New York, Review, Theatre and Opera, United States of America
That day, I aimed to view a production of The Tempest through a difficult flood. Prepared to pique an interest in the larger "theater is life" argument, I got my notebook ready. The hours passed. I sought to leave my apartment, and my transit app reported possible subway interruption. Ugh! Cancel culture, after three days of extraordinary weather, somehow won the play card again. Why hadn't I seen the opera on opening night on Thursday?
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Wondering Jews
by Jonathan Kalb | Jul 17, 2026 | Review, Theatre and Religion, United States of America
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Spring Roundup 2026
by Jonathan Kalb | Jul 16, 2026 | Musical Theatre, Producing, Review, United States of America
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Cross-Border Collaboration
by Joseph Bardin | Jul 15, 2026 | Israel, Review, Syria, Transcultural Collaborations, United States of America
Theatre – Creating Conditions For What Has Been Silenced To Emerge
by Ivanka Apostolova Baskar | May 16, 2026 | Brazil, Directing, Interview, Macedonia
An Interview with Lenerson Polonini, theatre director (Companhia Nova de Teatro, Sau Paulo,...
“Don’t Look Now”: Directing Theatre About the Climate Crisis
by David O'Donnell | Jul 11, 2026 | Directing, New Zealand, Theatre and Politics
I’m trying to sell my theatre show to my neighbour, a retired farmer. He’s out walking his...
Philip Ridley’s Tarantula at the Arcola Theatre: Blazingly Emotive And Beautifully Poetic Account Of Trauma From A Master Penman
by Aleks Sierz | Jan 22, 2025 | Covid-19, London, Playwriting, Review, United Kingdom
Even the best streamed theatre can’t compete with the live version. It’s simple — with this art...
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The Digital Spectator. Romanian Experiences During the Pandemic
by Călin Ciobotari | Feb 17, 2023 | Covid-19, Essay, Festivals, Romania, Transmedia
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ESSAYS
“71 Minutes of Movement:” Dance and Activism in the Twin Cities
by Corynn Harvieux | Jul 18, 2026 | Essay, Review, Theatre and Dance, Theatre and Politics, United States of America
As a dance artist, you are, at a young age, bestowed with the supposed gift to make people feel....
INTERVIEWS
A Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 2
by Yi-Ming Chen | Jul 21, 2026 | Acting, Directing, Interview, Malaysia, Playwriting, Taiwan, Theatre and Art
(Read the first part of the interview here.) Chen: In your plays, or the ways you answer...
REVIEWS
Beyond the Storm, a New York City Opera Thrives
by Marcina Zaccaria | Jul 19, 2026 | New York, Review, Theatre and Opera, United States of America
That day, I aimed to view a production of The Tempest through a difficult flood. Prepared to pique an interest in the larger "theater is life" argument, I got my notebook ready. The hours passed. I sought to leave my apartment, and my transit app reported possible subway interruption. Ugh! Cancel culture, after three days of extraordinary weather, somehow won the play card again. Why hadn't I seen the opera on opening night on Thursday?
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Wondering Jews
by Jonathan Kalb | Jul 17, 2026 | Review, Theatre and Religion, United States of America
READ ALL LATEST
A Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 2
by Yi-Ming Chen | Jul 21, 2026 | Acting, Directing, Interview, Malaysia, Playwriting, Taiwan, Theatre and Art
(Read the first part of the interview here.) Chen: In your plays, or the ways you answer...
Read MoreA Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 1
by Yi-Ming Chen | Jul 20, 2026 | Acting, Directing, Interview, Malaysia, Playwriting, Taiwan, Theatre and Art
(Read the second part of the interview here.) Outside the bright, modern meeting room on the 10th...
Read MoreBeyond the Storm, a New York City Opera Thrives
by Marcina Zaccaria | Jul 19, 2026 | New York, Review, Theatre and Opera, United States of America
That day, I aimed to view a production of The Tempest through a difficult flood. Prepared to pique an interest in the larger “theater is life” argument, I got my notebook ready. The hours passed. I sought to leave my apartment, and my transit app reported possible subway interruption. Ugh! Cancel culture, after three days of extraordinary weather, somehow won the play card again. Why hadn’t I seen the opera on opening night on Thursday?
Read More“71 Minutes of Movement:” Dance and Activism in the Twin Cities
by Corynn Harvieux | Jul 18, 2026 | Essay, Review, Theatre and Dance, Theatre and Politics, United States of America
As a dance artist, you are, at a young age, bestowed with the supposed gift to make people feel....
Read MoreWondering Jews
by Jonathan Kalb | Jul 17, 2026 | Review, Theatre and Religion, United States of America
Jonathan Spector’s new play Birthright—just opened at MCC Theater in a sharp, superbly acted...
Read MoreSpring Roundup 2026
by Jonathan Kalb | Jul 16, 2026 | Musical Theatre, Producing, Review, United States of America
Once again, the forsythias are in bloom, and that means new openings are arriving way too fast for...
Read MoreCross-Border Collaboration
by Joseph Bardin | Jul 15, 2026 | Israel, Review, Syria, Transcultural Collaborations, United States of America
We were wrapping rehearsal for the reading of my play Seeing Maya, a Tel Aviv love story, at the...
Read MoreHarsh And Relentless Social Criticism In Kosky’s Production Of Brecht’s “Threepenny Opera” At The Berliner Ensemble
by Daniel Meyer-Dinkgräfe | Jul 14, 2026 | Acting, Directing, Germany, Review
In nearly all productions of Brecht’s The Threepenny Opera I had seen up to this one, I was struck...
Read MoreBeautiful Detours: An Interview with Taiwanese Playwright Cheng-Chun Lee
by Kuan-Ting Lin | Jul 13, 2026 | Interview, Playwriting, Taiwan, Theatre and Dance, Theatre and Politics, Theatre for Young Audiences, Translation
Cheng-Chun Lee was an underperforming student in his high school composition classes. It was...
Read MoreBoundary Problems
by Jonathan Kalb | Jul 12, 2026 | Review, Theatre and Politics, United States of America
For the second time in two years, a flashy, big-budget Romeo and Juliet has opened in New York...
Read More“Don’t Look Now”: Directing Theatre About the Climate Crisis
by David O'Donnell | Jul 11, 2026 | Directing, New Zealand, Theatre and Politics
I’m trying to sell my theatre show to my neighbour, a retired farmer. He’s out walking his...
Read More“Sinfonia”: Stories from Harrogate
by Xunnan Li | Jul 10, 2026 | Review, United Kingdom
Sinfonia is a play in which older people of the local community take to the stage to share fragments of their lives. We may not often stop to imagine what growing old will feel like. Will we become trapped within bodies that no longer move as they once did? Will everyday tasks become more difficult? Will we lose the energy and freedom of youth? Sinfonia does not answer these questions directly but gently invites us to reflect on them.
Read MoreWriting On An Empty Page: An Interview with Taiwanese Playwright Chien-Cheng Chen
by Kuan-Ting Lin | Jul 9, 2026 | Interview, Playwriting, Taiwan, Theatre and Politics
Taiwanese playwright Chien-Cheng Chen is set to release A Chronicle of Consciousness, his second play collection, this August. However, the plays in this collection bear little resemblance to the realist dramas that launched his...
Read MoreA Celebration Of Bremen Past And Present: “Schnoor-Geschichten Mit Heini Holtenbeen – Bremen In 90 Minuten” At The Packhaustheater Bremen
by Daniel Meyer-Dinkgräfe | Jul 6, 2026 | Acting, Directing, Germany, Review
For the last full production of his first season as artistic director of Packhaustheater in...
Read More“No Man’s Land:” Architecture As Collective Enactment – From Scenography Toward Activated Space
by Ivanka Apostolova Baskar | Jul 6, 2026 | Interview, Macedonia, Theatre and Politics
STONE DESIGN Architects – Authors of the project No Man’s Land (2015/2016). Connected by a...
Read MoreA Magical “Tempest” In Stratford-Upon-Avon
by Margaret Rose | Jun 26, 2026 | Review, Theatre and Politics, United Kingdom
Seats have long been sold out for this production of Shakespeare’s The Tempest, which brings...
Read MoreVenice Theatre Biennale 2026 – “Memorandum”
by Margaret Rose | Jun 26, 2026 | Festivals, Italy, Review, Theatre and Age, Venice Theatre Biennale 2026
This year’s theatre Biennale (7 to 21 June), with Willem Dafoe at the helm, has the intriguing...
Read MoreVenice Theatre Biennale 2026 – A Japanese “Othello”
by Margaret Rose | Jun 26, 2026 | Italy, Japan, Review, Venice Theatre Biennale 2026
This year’s theatre Biennale (7 to 21 June), with Willem Dafoe at the helm, has the intriguing...
Read MorePerforming Between Six Languages: An Interview With Anissa Naji
by Fadi Fayad Skeiker | Jun 26, 2026 | Interview, Musical Theatre, Theatre and Politics, United States of America
Anissa Naji is a Moroccan-German multilingual actor, comedian, singer, writer, and teaching artist...
Read More“Translators As The Most Attentive And Analytical Readers: Knowing Every Corner, Strength, And Weakness Of A Text”
by Ivanka Apostolova Baskar | Jun 26, 2026 | Interview, Macedonia, Poland, Translation
An interview with Mrs. Gabriela Abrasowicz (Slavist, translator, and theatre scholar, Poland)....
Read MoreOldenburg’s Production Of “Mephisto” Continues And Expands The Important Debate Of The Artistic Response To Adverse Political Circumstances
by Daniel Meyer-Dinkgräfe | Jun 25, 2026 | Germany, Review, Theatre and Politics
Klaus Mann’s novel Mephisto, published in 1936, deals with the opportunistic rise of its main...
Read MoreVenice Theatre Biennale 2026 – Mario Banushi’s “Romance Familiare”
by Margaret Rose | Jun 24, 2026 | Greece, Italy, Review, Venice Theatre Biennale 2026
This year’s theatre Biennale (7 to 21 June), with Willem Dafoe at the helm, has the intriguing...
Read MoreShell…Shocked?
by Matthew Foster | Jun 23, 2026 | Review, Theatre and Gender, United States of America
4/5 Stars Coming from a glimpse of a barren thought of the sense of being presented with the...
Read MoreItai Erdal’s Soldiers of Tomorrow at the Finborough Theatre: An Uninhibited Account Of The Conflict Between Israel And The Palestinians
by Aleks Sierz | Jun 19, 2026 | London, Review, Theatre and Politics, United Kingdom
The Finborough Theatre is one of the smallest in London, yet it has a great track record in...
Read MoreSadness And Mourning Dominate Theater Bremen’s “Hamlet”
by Daniel Meyer-Dinkgräfe | Jun 16, 2026 | Acting, Directing, Germany, Review
The stage, designed by Thomas Rupert, was vast and predominantly empty, the floor mainly even and...
Read MoreHistorical Memory On the Stage: Juan Mayorga’s “El Jardín Quemado” (The Scorched Garden)
by Maria Delgado | Jun 11, 2026 | Review, Spain
Juan Mayorga began writing El jardín quemado (The Scorched Garden) in 1996, completing it the...
Read MoreNow In Its 23rd Year, “Komödie Am Altstadtmarkt” In Braunschweig Is Still Going Strong
by Daniel Meyer-Dinkgräfe | Jun 10, 2026 | Acting, Directing, Germany, Review
When Florian Battermann founded the Komödie am Altstadtmarkt in Braunschweig in 2003 at the age of...
Read MoreThe Precipitation Of Performance: Braddy And Burns On Beckett
by Paul Shields | Jun 6, 2026 | Acting, Essay, United States of America
On a cold Saturday afternoon this past winter, retired director Laura Jones drove me around the...
Read More“Today, Krleža Would Go Straight For The Throat Of Project-Based Logic”
by Ivanka Apostolova Baskar | Jun 5, 2026 | Croatia, Interview, Macedonia, Playwriting
An Interview with Mr. Ivica Matičević, president of the Fellowship Miroslav Krleza Fund, literary...
Read MoreMe+Lorca: Juan Diego Botto’s Mesmeric “Una noche sin luna” (A Moonless Night)
by Maria Delgado | Jun 3, 2026 | Review, Spain
In his biography of Federico García Lorca, Ian Gibson observes that the writer’s assassination...
Read MoreCorinna Harfouch’s Showpiece Of The Art Of Acting In Haidle’s “Spirit And The Dust”
by Daniel Meyer-Dinkgräfe | Jun 2, 2026 | Acting, Germany, Review
Spirit and the Dust is a play by American dramatist Noah Haidle. The world premiere of the play,...
Read MoreIn Pleasant Company: “Girl Dolls”
by Abigail Weil | May 30, 2026 | Musical Theatre, Review, United States of America
American women of a certain vintage can be sorted into haves and have-nots based on possession of...
Read More“Chroniques” by Peeping Tom at Østre Gasværk Teater Copenhagen
by Duška Radosavljević | May 28, 2026 | Belgium, Denmark, Review, Theatre and Dance
Rocks and rolling, in a most literal sense, is probably the closest it gets to describing the...
Read More“Circle Mirror Transformation”
by Margaret Rose | May 27, 2026 | Acting, Italy, Review
Annie Baker’s Circle Mirror Transformation is currently enjoying a highly acclaimed tour to major...
Read MoreA Theatre Like Society In The Fundamentalist Capitalism Could Not Survive Without Self-Curated Neomania
by Ivanka Apostolova Baskar | May 23, 2026 | Interview, Macedonia, Theatre and Art
An Interview with Žaneta Vangeli, visual artist, professor, and set designer for the theatre...
Read MoreFrom A Basketball Athlete To A Political Dissident
by Azadeh Kangarani | May 22, 2026 | Belarus, Review, Theatre and Politics, United Kingdom
Belarus Free Theatre, which currently operates in exile in London, recently presented its...
Read MoreBremen’s Packhaustheater Turns To Artist Paula Modernsohn-Becker
by Daniel Meyer-Dinkgräfe | May 21, 2026 | Directing, Germany, Review
The latest production in Dirk Böhling’s inaugural season as artistic director of the...
Read MoreChess The Musical: About Human Nature, Not Politics. An Exclusive Interview with Tim Rice
by Lisa Monde | May 20, 2026 | Interview, Musical Theatre, Transcultural Collaborations, United States of America
Dedicated to the 40th anniversary of the world premiere The idea for the musical Chess belongs to...
Read MoreRichard III at MITEM: When the Monster Is Not Alone
by Emiliia Dementsova | May 19, 2026 | Festivals, Hungary, Israel, Review, Theatre and Politics
There was something almost suspiciously neat about the programming. MİTEM opened with Richard III...
Read MoreTheatre – Creating Conditions For What Has Been Silenced To Emerge
by Ivanka Apostolova Baskar | May 16, 2026 | Brazil, Directing, Interview, Macedonia
An Interview with Lenerson Polonini, theatre director (Companhia Nova de Teatro, Sau Paulo,...
Read More“The Copenhagen Trilogy” by Tove Ditlevsen, adapted by Tom Silkeberg, directed by Anja Suša at Malmö City Theatre
by Duška Radosavljević | May 16, 2026 | Denmark, Review, Sweden
Tove Ditlevsen was a Danish working-class poet, novelist and feminist icon. Her memoir The...
Read More“The Cherry Orchard”: The Comedy Of Ruins
by Emiliia Dementsova | May 15, 2026 | Hungary, Poland, Review
Nikolai Kolyada’s The Cherry Orchard begins after loss has already become the furniture of the...
Read More“Broken Melody” at MITEM: A Music That Finds Its Way Home
by Emiliia Dementsova | May 13, 2026 | Hungary, Review
There are productions that do not so much tell a biography as listen to it and Sardar Tagirovsky’s...
Read More“Mothers: A Song for Wartime” by Marta Górnicka at Gothenburg City Theatre
by Duška Radosavljević | May 13, 2026 | Poland, Review, Sweden, Ukraine
Marta Górnicka’s choral theatre has been wowing Europe for the last 15 years. At the age of 51,...
Read MoreIn “The Aquarium” Nina Plavanjac Turns Family Memory Into a Transparent Cage
by Emiliia Dementsova | May 12, 2026 | Festivals, Hungary, Review, Serbia
Nina Plavanjac’s The Aquarium, produced by the Subotica National Theatre in Serbia and presented...
Read MorePinocchio. What Is a Person? at MITEM: Who Gets to Be Seen as Fully Human?
by Emiliia Dementsova | May 8, 2026 | Festivals, Hungary, Review, Theatre and Disability
Davide Iodice’s Pinocchio. What Is a Person?, created with Scuola Elementare del Teatro /...
Read MoreAt The Düsseldorfer Schauspielhaus, “Gott ‘By Ferdinand Von Schirach Presents Its Tough Ethical Dilemma For The Audience To Vote On
by Daniel Meyer-Dinkgräfe | May 5, 2026 | Directing, Germany, Review
Ferdinand von Schirach was born in 1964, studied law and became a noted criminal defense lawyer....
Read MoreGuilt And Resilience, And “The Fear Of 13”
by Teodora Medeleanu | May 3, 2026 | Acting, Adaptation, New York, Review, United States of America
What if the guilt one feels on the death row is not for what he has (allegedly) done? The Fear of...
Read MoreBirmingham Royal Ballet’s “Don Quixote” Slowly Finds Its Sunshine
by Zoë Hewitt | May 2, 2026 | Review, Theatre and Dance, United Kingdom
There are ballets about death, betrayal and ghosts. Then there is Don Quixote, where people clap,...
Read More“Managed Approach” – Two Contrasting Stories – Open Aire Theatre, Riverside Studios, London
by Verity Healey | May 1, 2026 | Review, Theatre and Politics, United Kingdom
It’s been six years since the end of Managed Approach, a project in Holbeck, Leeds, which...
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Most Popular Posts
Chess The Musical: About Human Nature, Not Politics.… by Lisa Monde 20th May 2026
Christopher Hampton’s “Les Liaisons Dangereuses” at… by Aleks Sierz 8th April 2026
Theatre – Creating Conditions For What Has… by Ivanka Apostolova Baskar 16th May 2026
Waking Up in the Spotlight with “The Unusual… by Alexander Fatouros 24th March 2026
“No Man’s Land:” Architecture As Collective… by Ivanka Apostolova Baskar 6th July 2026
“Translators As The Most Attentive And… by Ivanka Apostolova Baskar 26th June 2026 A Magical “Tempest” In Stratford-Upon-Avon by Margaret Rose 26th June 2026
James Graham’s “Punch” at the Apollo Theatre:… by Aleks Sierz 30th September 2025 A Celebration Of Bremen Past And Present:… by Daniel Meyer-Dinkgräfe 6th July 2026
Oldenburg’s Production Of “Mephisto” Continues And… by Daniel Meyer-Dinkgräfe 25th June 2026
Recent Posts
- A Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 2 21st July 2026
- A Man Without Shadows: An Interview with Theatre Artist Koh Choon Eiow, Part 1 20th July 2026
- Beyond the Storm, a New York City Opera Thrives 19th July 2026
- “71 Minutes of Movement:” Dance and Activism in the Twin Cities 18th July 2026
- Wondering Jews 17th July 2026
- Spring Roundup 2026 16th July 2026
- Cross-Border Collaboration 15th July 2026
- Harsh And Relentless Social Criticism In Kosky’s Production Of Brecht’s “Threepenny Opera” At The Berliner Ensemble 14th July 2026
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