


“When Billy Met Alasdair” At The Scottis...

Edinburgh Festival Fringe 2025: Provisio...

“No Apologies” by Emma Frank...

“The Ego” by Anemone Valcke ...
“Riot Days” by Pussy Riot, E...

“Thanks for Being Here” by O...

“Aether”, Edinburgh Festival...
“Little Bulb: Listen Dance”,...

“The Butterfly Who Flew Into The R...

“A Poem And A Mistake,” Edin...
“Works And Days” By The Fc B...

“Wild Thing!” By Mechanimal, Edinburgh F...
Sam Kissajukian’s “Three Hundred Paintin...

“Make It Happen,” Edinburgh ...

“Suburbia,” Written And Performed By Jon...
“Cassandra,” Written And Performed By Ai...
Karis Kelly’s “Consumed” At The Traverse...

“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...
-

-
The Theater of Metaverse
by Hayel Ali Al-Mathabi | May 10, 2025 | Essay, Festivals, Theatre and AI, Theatre and Science
-
![Language Is Leaving Me: A Cinematic AI Opera Of The Skin [Part II]](data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAJYAAACWAQAAAAAUekxPAAAAAnRSTlMAAHaTzTgAAAAaSURBVEjH7cExAQAAAMKg9U9tDQ+gAACAdwMLuAABXZHjmQAAAABJRU5ErkJggg==)
-
![“Language Is Leaving Me: A Cinematic AI Opera Of The Skin” [Part I]](data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAJYAAACWAQAAAAAUekxPAAAAAnRSTlMAAHaTzTgAAAAaSURBVEjH7cExAQAAAMKg9U9tDQ+gAACAdwMLuAABXZHjmQAAAABJRU5ErkJggg==)
LATEST NEWS FROM AROUND THE WORLD



“The Gilded Age” Season 3 Casting Secrets
-440x264.jpeg)
Curtain-Up in Taipei: A City Stages Its Own Tonys


On Kyoto Experiment’s Curatorial Vision

The Images of Me: 2024 Prologue New Play Festival




Venice Theatre Biennale 2026 – “Memorandum”

Richard III at MITEM: When the Monster Is Not Alone



“Frankenstein (History Of Hate)”
“Handle With Care” At Milan’s FOG Festival

New York City Fringe Begins April 1







Tom Block Sparks Arts Activists






“Aether”, Edinburgh Festival Fringe 2025


Tampere Theatre Festival 2025: Worlds in Miniature

Mark Rosenblatt’s “Giant” in Barcelona





The Theater of Metaverse

Theatre “Haunts” People

On Kyoto Experiment’s Curatorial Vision


- Acting
- Directing
- Dramaturgy
- Design
- Management
- Playwriting
Sadness 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...
-
-
-

-

“Circle Mirror Transformation”
by Margaret Rose | May 27, 2026 | Acting, Italy, Review
Sadness 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...
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...
-
-
-
Annie Jin Wang on Opera Dramaturgy
by Anne Hamilton | Jul 10, 2025 | Dramaturgy, Interview, Theatre and Opera, United States of America
-
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...
-
-
Picasso’s “Barber” At The Spanish National Theatre
by Duncan Wheeler | Feb 24, 2026 | Directing, Management, Review, Spain
-

-

“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...
-
-
-

“Last Call” Brings Us Closer To Bernstein And Von Karajan
by Daniel Meyer-Dinkgräfe | Mar 13, 2026 | Directing, Germany, Playwriting, Review
-




“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

“In Two Minds.” Female Led Irish Storytelling

“Penthesilea” After Von Kleist. Let’s Rock

“Hamstrung.” Yorick’s Untold Story

“The Outrun”

“Invisible Lands,” Bodies, Gods, and… People

“Pericles” – An Odyssey from Timișoara

“Youth Without God;” Unkind, Realistic Reminder


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...
- Africa
- Asia
- Europe
- North America
- South America
- Oceania
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...
Venice 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...
-

Richard III at MITEM: When the Monster Is Not Alone
by Emiliia Dementsova | May 19, 2026 | Festivals, Hungary, Israel, Review, Theatre and Politics
-

-
-
A 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...
-

Venice Theatre Biennale 2026 – “Memorandum”
by Margaret Rose | Jun 26, 2026 | Festivals, Italy, Review, Theatre and Age, Venice Theatre Biennale 2026
-

Venice Theatre Biennale 2026 – A Japanese “Othello”
by Margaret Rose | Jun 26, 2026 | Italy, Japan, Review, Venice Theatre Biennale 2026
-
-
Performing 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...
-

Shell…Shocked?
by Matthew Foster | Jun 23, 2026 | Review, Theatre and Gender, United States of America
-
-

In Pleasant Company: “Girl Dolls”
by Abigail Weil | May 30, 2026 | Musical Theatre, Review, 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,...
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...
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...
-

The Digital Spectator. Romanian Experiences During the Pandemic
by Călin Ciobotari | Feb 17, 2023 | Covid-19, Essay, Festivals, Romania, Transmedia
-

-

-
SECTIONS
Visit Performap.com - an Interactive Digital Map of Global Theatre and Performance Festivals developed by TheTheatreTimes.com. With hundreds of festivals browsable and searchable by festival location, type, and date, Performap is the first extensive digital index of its kind in the field, built expressly for artists, audiences, critics, scholars, festival organizers, curators, and presenters from around the world.
ESSAYS
The 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...
INTERVIEWS
Performing 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...
REVIEWS
A 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...
-
Venice Theatre Biennale 2026 – “Memorandum”
by Margaret Rose | Jun 26, 2026 | Festivals, Italy, Review, Theatre and Age, Venice Theatre Biennale 2026
-
Venice Theatre Biennale 2026 – A Japanese “Othello”
by Margaret Rose | Jun 26, 2026 | Italy, Japan, Review, Venice Theatre Biennale 2026
READ ALL LATEST
A 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...
Read MoreMaxim Sukhanov – About The “Brew” Of A Performance, Krymov Rehearsals, “Dramatic Provocations” And The “Hope For The Good”.
The interview took place on January 17, 2026. Maxim, do you remember your first...
Read MoreBound To Start Again, Again, Again…
by Teodora Medeleanu | Apr 27, 2026 | Review, Theatre and Gender, United States of America
Perhaps one of the strangest experiences one can have when moving to a new place is watching a...
Read MoreThe Wooster Group’s “Nayatt School Redux” at the Coronet Theatre: Made-Over Experimental Classic Marks A Great Comeback
by Aleks Sierz | Apr 25, 2026 | Devised Theatre, Review, United Kingdom, United States of America
At a time when, in the post-Brexit years, British theatre is increasingly insular, a visit by the...
Read More“Jen Xponential,” A Story Of Potential
by Teodora Medeleanu | Apr 24, 2026 | Musical Theatre, Review, United States of America
In a small town, where nothing really happens, K. works at VHS World, alongside her teenage...
Read More“Frankenstein (History Of Hate)”
by Margaret Rose | Apr 23, 2026 | Adaptation, Festivals, Italy, Review
Milan’s international festival, FOG, continues with productions from Italy and many parts of the...
Read More“Art Of Andalucia:” Rain Outside, Fire Within. Daniel Martinez Flamenco Company at The Haymarket, Basingstoke, Hampshire.
by Zoë Hewitt | Apr 22, 2026 | Review, Theatre and Dance, United Kingdom
Outside, mid-April in Basingstoke was all drizzle and grey light. Inside The Haymarket, Art of...
Read More“Handle With Care” At Milan’s FOG Festival
by Margaret Rose | Apr 22, 2026 | Belgium, Festivals, Italy, Review
In March, FOG – Milan’s annual performing arts festival – hosted Handle with Care, a...
Read MoreDeveloping 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...
Read MoreDeveloping Theatre And Performance Pedagogy Through Marae-based Wānanga In Aotearoa/New Zealand. Part I
by Hilary Halba and Rua McCallum | Apr 21, 2026 | Education, New Zealand, Oceania, Theatre and Decolonization
In her article “The Limits of Cross-cultural Dialogue: Pedagogy, Desire, and Absolution in the...
Read MoreA Successfully Funny Perspective On Life Aspirations In State Theatre Oldenburg’s Production Of “Bondy Beach”
by Daniel Meyer-Dinkgräfe | Apr 15, 2026 | Directing, Germany, Review
Bondi Beach was premiered on the 7th of October 2023 at the municipal theatre in Ingolstadt....
Read MoreChekhov’s “Uncle Vanja”, directed by Yana Ross at the Royal Theatre, Copenhagen
by Duška Radosavljević | Apr 14, 2026 | Denmark, Review
Already active across a number of north European theatre contexts – from her base in Lithuania to...
Read MoreMichael Frayn’s “Copenhagen” at the Hampstead Theatre: Excellent Revival Of Iconic Play About The Ethics Of The Atom Bomb
by Aleks Sierz | Apr 14, 2026 | London, Playwriting, Review, United Kingdom
Every day, for many weeks, we keep hearing about nuclear weapons. Part of the reason for the...
Read MoreFrom Richard To Richard: MITEM 2026 And a Europe in a State of Alarm
by Emiliia Dementsova | Apr 14, 2026 | Festivals, Hungary, Theatre and Politics
MITEM (Madách International Theatre Meeting), held annually at the National Theatre in Budapest,...
Read MoreAdaptations On The German Stage (3): Theater Bremen Is Keen On The Long Haul
by Daniel Meyer-Dinkgräfe | Apr 10, 2026 | Adaptation, Germany, Review
David Safier was born in Bremen in 1966. He trained as a journalist, worked as radio and TV...
Read MoreBig Fatuous Giant
by Jonathan Kalb | Apr 10, 2026 | New York, Review, United States of America
Mark Rosenblatt’s new play Giant is a sensational, admirable, and courageous effort to Make...
Read More- 1
- ...
- 2
- 3
- 4
- 5
- 6
- 7
- 8
- 9
- 10
- 11
- 12
- 13
- 14
- 15
- 16
- 17
- 18
- 19
- 20
- 21
- 22
- 23
- 24
- 25
- 26
- 27
- 28
- 29
- 30
- 31
- 32
- 33
- 34
- 35
- 36
- 37
- 38
- 39
- 40
- 41
- 42
- 43
- 44
- 45
- 46
- 47
- 48
- 49
- 50
- 51
- 52
- 53
- 54
- 55
- 56
- 57
- 58
- 59
- 60
- 61
- 62
- 63
- 64
- 65
- 66
- 67
- 68
- 69
- 70
- 71
- 72
- 73
- 74
- 75
- 76
- 77
- 78
- 79
- 80
- 81
- 82
- 83
- 84
- 85
- 86
- 87
- 88
- 89
- 90
- 91
- 92
- 93
- 94
- 95
- 96
- 97
- 98
- 99
- 100
- 101
- 102
- 103
- 104
- 105
- 106
- 107
- 108
- 109
- 110
- 111
- 112
- ...
- 113
Like Us On Facebook

Most Popular Posts
Chess The Musical: About Human Nature, Not Politics.… by Lisa Monde 20th May 2026
The Precipitation Of Performance: Braddy And Burns… by Paul Shields 6th June 2026
A Theatre Like Society In The Fundamentalist… by Ivanka Apostolova Baskar 23rd May 2026
“Today, Krleža Would Go Straight For The… by Ivanka Apostolova Baskar 5th June 2026 In “The Aquarium” Nina Plavanjac Turns Family Memory… by Emiliia Dementsova 12th May 2026
Romeo Castellucci “Believing In Masks” At Milan’s… by Margaret Rose 13th March 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 Richard III at MITEM: When the Monster Is Not Alone by Emiliia Dementsova 19th May 2026
Historical Memory On the Stage: Juan Mayorga’s… by Maria Delgado 11th June 2026
Recent Posts
- A Magical “Tempest” In Stratford-Upon-Avon 26th June 2026
- Venice Theatre Biennale 2026 – “Memorandum” 26th June 2026
- Venice Theatre Biennale 2026 – A Japanese “Othello” 26th June 2026
- Performing Between Six Languages: An Interview With Anissa Naji 26th June 2026
- “Translators As The Most Attentive And Analytical Readers: Knowing Every Corner, Strength, And Weakness Of A Text” 26th June 2026
- Oldenburg’s Production Of “Mephisto” Continues And Expands The Important Debate Of The Artistic Response To Adverse Political Circumstances 25th June 2026
- Venice Theatre Biennale 2026 – Mario Banushi’s “Romance Familiare” 24th June 2026
- Shell…Shocked? 23rd June 2026
- Itai Erdal’s Soldiers of Tomorrow at the Finborough Theatre: An Uninhibited Account Of The Conflict Between Israel And The Palestinians 19th June 2026
- Sadness And Mourning Dominate Theater Bremen’s “Hamlet” 16th June 2026

![Language Is Leaving Me: A Cinematic AI Opera Of The Skin [Part II]](https://thetheatretimes.com/wp-content/uploads/2025/01/WK2023-10-07_0075-150x150.jpg)
























































































