The Theatre Times
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The Theatre Times is the largest global theatre portal and publishes news stories on daily basis from a variety of sources. Our goal is to create a transnational discursive space that would bring together theatre-makers and theatre lovers, facilitating global collaborative models, and generating opportunities for interaction and creative development amongst a wide network of international..
The Theatre Times
4d ago
The question of universality faces entire series of utterly new answers, but not all of them find a place or are given a form to be exhibited on stage, as it is frequently mistaken for relatability. The personal dilemmas of the young adult, struggling with societal expectations and not yet being able to see the world through the eyes of a more mature generation, did, however, see the limelight. Written and directed by Mallika Shah, produced by Meghana AT, and brought to the audiences by tafreehwale, in collaboration with NCPA Mumbai, I Killed My Mother/It Wasn’t My Fault plays with more than ..read more
The Theatre Times
4d ago
There are a number of firsts in the new Teatro Real production triple bill that brings together Francis Poulenc’s La Voix Humaine (1959), adapted from Jean Cocteau’s 1930 play, and Arnold Schönberg’s Erwartung (1924) with a new piece cowritten by director Christof Loy and Almodóvar regular, the actress Rossy de Palma. These are two operatic shorts that are rarely paired, different in tone and musical style, but their programming makes great sense in that both are concerned with unrequited love that turns sour with grave consequences on the protagonists’ sanity.
A single room of high white wal ..read more
The Theatre Times
6d ago
When Chenura Trust a Zimbabwean media company announced that they were working on a theatrical performance titled Haywire which was going to be centered around mental health issues, initial thoughts were dismissive. I was reluctant to the idea of witnessing another performance on such an important matter that would follow the usual storyline of troubled souls that eventually find solace from their ills without providing details on the characters’ innermost conflicts. However, the premiere night for Haywire at Jason Mphepho Little Theatre in Zimbabwe’s capital city of Harare, progressed in the ..read more
The Theatre Times
6d ago
Susanne Kennedy doesn’t do things by half. When she creates a world, it has its own logic, its own rules, its own ethos. It’s not a world of participation but one where the audience are invited to watch but always slightly distanced from the stage action. Here working with visual artist Markus Selg — both share responsibility for the concept, she directs and he designs — she creates a new piece, touring since last summer, centring on the rituals and routines of a social influencer, Angela, who creates videos to post on YouTube. She films herself repeatedly – perhaps one of the strange ..read more
The Theatre Times
6d ago
The Drifting Room, created and performed by Stephen Bain. The Performance Arcade 2024, Te-Whanganui-A-Tara Wellington waterfront, 22-25 February 2024.
What if the theatre—that fixed architectural space that transforms and conjures up a multitude of imaginary spaces—could drift off its foundations and explore the world beyond? This and many other questions are addressed by Stephen Bain’s playfully subversive The Drifting Room. Over several decades of festival and theatre-going, I’ve attended a multitude of immersive promenade shows, audio tours, and site-specific works, but for me, The D ..read more
The Theatre Times
1w ago
American actress of beauty and talent, Támara Torres is a legend of Orange is the New Black, the Netflix comedy-drama television series created by Jenji Kohan. Her portrayal of Emily “Weeping Woman” Germann, propelled her far on the road to stellar fame.
In the 2024 Amazon MGM Studios production Mr. and Mrs. Smith, Ms. Torres delivers a captivating performance as a spy. Eschewing grand gestures, she infuses her characters with an air of intrigue.
Her artistic expression reflects a deep connection to music, with her subtlety carrying an impactful punch, akin to a perfectly timed comedic beat ..read more
The Theatre Times
1w ago
There are some myths about the opera that are not true. Firstly, that young people do not like opera. Secondly, opera audiences hate contemporary operas. If you think that both statements are false, you must have been to the Semper Zwei to see The Bald Soprano, an opera by the composer Luciano Chailly based on the eponymous Ionesco’s play. And Josef Heinzelmann translated the libretto into German.
There is a lot of evidence that supports these ideas against both myths in this case. On one hand, tickets sold out for all the performances. In addition, it was difficult to get a seat for the intr ..read more
The Theatre Times
2w ago
For me, this is the most emotional show on the London stage. Why’s that? Because it’s about Nye Bevan, who as Minister of Health in the postwar socialist Labour government set up the National Health Service (NHS). All my life, the NHS has looked after me, saved me during medical emergencies and helped keep me and my family well. It did the same with my parents, and with my friends. And not only for us — without doubt, next to the monarchy, it is the most treasured national institution, a central part of our British identity. Bevan was Welsh so it’s fitting that this tribute to his life and ac ..read more
The Theatre Times
3w ago
The performance follows four women in different parts of Ukraine, at various distances from the frontline and allows them to tell their pre and post-February 2022 stories.
Abrupt opening? It follows the spirit of This Is Our Home – Ukraine, which, in turn, seems to consciously trace back the steps of the ongoing European conflict, which started without any warning, on a mere February day. Rough, tough, yet emotional and touching, Yana Salakhova and Rodolfo García Vázquez’s production reminds its audience of two moments in the recent past which reshaped humanity to its core.
With dim light and ..read more
The Theatre Times
3w ago
It’s election year so the gaze of British theatre turns towards the National Health Service. But, no, this month’s plays do not examine the parlous state of doctors and hospitals today, but rather look back to the early days of the NHS. At the Donmar Warehouse Lucy Kirkwood focuses on one local Shropshire doctor, while at the National Theatre Tim Price documents the life of Nye Bevan, health minister in the socialist Labour government of 1945. At the former venue, The Human Body gets a fast-moving production by Michael Longhurst, its artistic director, and boasts a cast headed by TV superstar ..read more