Monday, March 27, 2023
In “James Brown Wore Curlers,” the French playwright tries out a more far-fetched premise than in her previous hits, and produces less satisfying satire.
SOURCE: The New York Times Subscription at 01:32PMWednesday, March 8, 2023
Thomas Ostermeier’s surprisingly traditional production of the Chekhov classic came to life via the cast’s performances, and without radical interventions by the director.
SOURCE: The New York Times Subscription at 07:00PMMonday, February 20, 2023
Chaos also plays a role in a new play at the Volksbühne theater that delivers on its pledge of a director-free evening.
SOURCE: The New York Times Subscription at 06:27AMSunday, February 12, 2023
He left his mark in Hamburg, Berlin, Strasburg and elsewhere. He also directed a memorable “Ring” cycle in Bayreuth.
SOURCE: The New York Times Subscription at 10:47AMFriday, January 20, 2023
The choreographer Constanza Macras’s new work at the Volksbühne is a chaotic revue featuring dance, slapstick, spoken dialogue, pop music and heavy-handed monologues.
SOURCE: The New York Times Subscription at 11:59AMThursday, December 15, 2022
The Times’s three European theater critics pick their favorite productions of the year — plus a turkey apiece for the festive season.
SOURCE: The New York Times Subscription at 05:18AMWednesday, December 14, 2022
Many Broadway blockbusters make their way to Madrid, but Banderas wants to push the envelope with serious, complex musicals that are little-known in Spain.
SOURCE: The New York Times Subscription at 11:42AMThursday, December 8, 2022
New stagings in Germany and Austria, including Tom Stoppard’s latest play, explore the themes of social integration and tolerance that animated the “Jewish question.”
SOURCE: The New York Times Subscription at 04:54AMThursday, November 17, 2022
Female-led productions in Hamburg and Munich — including an Annie Ernaux adaptation and a reworking of Ibsen’s “A Doll’s House” — pack both a theatrical and a moral punch.
SOURCE: The New York Times Subscription at 06:32AMThursday, October 27, 2022
In Germany, a sonically daring Chekhov adaptation and a post-apocalyptic western “opera” are breaking down barriers between genres.
SOURCE: The New York Times Subscription at 05:55AMFriday, October 7, 2022
The hit musical arrived in Hamburg with its verve, ingenuity and idealism intact. And it gains unexpected depth from being staged in Germany.
SOURCE: The New York Times Subscription at 01:49PMThursday, October 6, 2022
Florentina Holzinger’s striking, bewildering and stomach-churning new piece, “Ophelia’s Got Talent,” opened the season at the Volksbühne theater in Berlin.
SOURCE: The New York Times Subscription at 07:33AMThursday, September 15, 2022
New works by major German-language dramatists at the Kunstfest Weimar festival tackle ethical questions at a moment of ecological anxiety.
SOURCE: The New York Times Subscription at 06:19AMThursday, August 25, 2022
Thorsten Lensing takes years between shows; Ewelina Marciniak puts on several each season. Both theater makers are presenting new work in Austria.
SOURCE: The New York Times Subscription at 05:54AMThursday, August 4, 2022
Works that once horrified European audiences are now centerpieces of the drama offerings at the tony Austrian festival.
SOURCE: The New York Times Subscription at 04:42AMThursday, June 30, 2022
The Radikal Jung festival transports theatergoers to Russia’s 2014 invasion of eastern Ukraine and an American high school in the Middle Ages.
SOURCE: The New York Times Subscription at 06:07AMThursday, June 9, 2022
Two recent British dramas with Austrian roots made it to Vienna this season: “Leopoldstadt,” by Tom Stoppard, and Robert Icke’s “The Doctor.”
SOURCE: The New York Times Subscription at 05:33AMThursday, May 19, 2022
At Theatertreffen, an annual celebration of the best in German-language performance, music plays a profound, and intelligent, role.
SOURCE: The New York Times Subscription at 06:06AMThursday, May 5, 2022
New productions by the theater titans Krzysztof Warlikowski and Frank Castorf play games with ancient Greek folklore and modern history.
SOURCE: The New York Times Subscription at 03:42AMTuesday, April 26, 2022
Waltz’s dance, born in deep lockdown, embraces the openness and fluidity of Terry Riley’s classic minimalist score. It’s coming to BAM.
SOURCE: The New York Times Subscription at 01:35PMThursday, April 7, 2022
At Berlin’s FIND festival of new international drama, several productions use transcripts to explore questions of state power and identity.
SOURCE: The New York Times Subscription at 08:36AMThursday, March 24, 2022
In Germany, a country with few theater leaders who aren’t men, professional success has often meant becoming one of the guys. Now, a new group of women are developing their own way. d
SOURCE: The New York Times Subscription at 08:36AMThursday, March 3, 2022
A theatrical reworking of Wagner’s “Ring” and a feminist revision of some Greek classics show how ancient legends can illuminate contemporary obsessions.
SOURCE: The New York Times Subscription at 05:42AMThursday, February 10, 2022
Bold takes on classic works defined theater in Germany for decades. But many playhouses are turning to new works by international dramatists.
SOURCE: The New York Times Subscription at 04:18AMFriday, January 21, 2022
Kirill Serebrennikov is living under a three-year travel ban, but to his surprise, Russian authorities approved his request to direct a play in Hamburg.
SOURCE: The New York Times Subscription at 12:18PMThursday, January 20, 2022
The Berliner Ensemble, once known for reverent productions of plays by its founder, Bertolt Brecht, has come roaring into a new decade.
SOURCE: The New York Times Subscription at 04:18AMThursday, December 16, 2021
The Times’s three European theater critics pick their favorite productions of the year — plus a turkey apiece for the festive season.
SOURCE: The New York Times Subscription at 04:18AMThursday, December 9, 2021
In a country where the director is king, it’s the hundreds of full-time players in the many house ensembles who have assured that the lights stayed on during the pandemic.
SOURCE: The New York Times Subscription at 04:06AMFriday, December 3, 2021
René Pollesch is the fourth boss of the Volksbühne in four years. The Berlin theater is pinning hopes of a return to its former vibrancy on his collaborative approach.
SOURCE: The New York Times Subscription at 10:48AMThursday, November 18, 2021
In Kornel Mundruczo’s “Pieces of a Woman” and an Annie Ernaux adaptation, “Memory of a Girl,” stage directors explore post-traumatic psychology and the workings of mental recall.
SOURCE: The New York Times Subscription at 05:42AMFriday, November 12, 2021
With a Black-led production of Shakespeare’s play, an Austrian theater hopes to jump-start a conversation about racism and the need for diversity on the country’s stages.
SOURCE: The New York Times Subscription at 09:54AM 
