Thursday, January 9, 2025
A prominent practitioner of the historically grand productions that were once fashionable at the Met, he was especially well known for his stagings of Wagner.
SOURCE: The New York Times Subscription at 02:24PMWednesday, October 23, 2024
Monday, October 7, 2024
Robert Lepage’s latest play, “Faith, Money, War and Love,” runs for five hours, and aims to depict Germany since the end of World War II.
SOURCE: The New York Times Subscription at 01:12PMMonday, August 19, 2024
In the abandoned industrial sites that serve as the festival’s venues, our critic witnessed beauty struggling to be born: fitfully, clumsily and sometimes stunningly.
SOURCE: The New York Times Subscription at 09:12PMWednesday, July 31, 2024
Robert Carsen’s take on “Jedermann,” a play staged at the festival every year, stands head and shoulders above other recent stagings of the work.
SOURCE: The New York Times Subscription at 11:32AMMonday, May 20, 2024
At this year’s Theatertreffen drama festival, one production explores an incident that shocked the German theater world last year.
SOURCE: The New York Times Subscription at 03:32PMFriday, May 10, 2024
A quirky and joyful play based on J.R.R. Tolkien’s books joined weightier works at this year’s Theatertreffen drama festival.
SOURCE: The New York Times Subscription at 02:06PMMonday, April 29, 2024
Elfriede Jelinek’s latest play deals with collective calamity and individual grief, but is let down by a chaotic production.
SOURCE: The New York Times Subscription at 12:48PMThursday, February 29, 2024
His avant-garde work, short on character and plot but long on verbal high jinks, could be irreverent, even goofy, but it was always intellectually serious.
SOURCE: The New York Times Subscription at 10:48AMFriday, December 8, 2023
“Linie 1” has been running since 1986 and just celebrated its 2,000th performance. Its cast of kooky dreamers and misfits still capture something special about Berlin.
SOURCE: The New York Times Subscription at 01:42PMMonday, October 30, 2023
Barrie Kosky’s Berlin production of the 1975 musical adds a touch of burlesque and a dash of Bertolt Brecht.
SOURCE: The New York Times Subscription at 01:07PMThursday, October 12, 2023
After a year of less-than-stellar ticket sales, the German-language translation of Lin-Manuel Miranda’s stage hit is closing. But it has helped diversify German musicals.
SOURCE: The New York Times Subscription at 01:33PMTuesday, October 10, 2023
Recent premieres in the city ranged from a spare take on the recent Broadway hit “Prima Facie” to a dose of sheer artistic lunacy.
SOURCE: The New York Times Subscription at 10:55AMMonday, August 21, 2023
The best productions at the Ruhrtrienniale festival created a sense of unity with their unique, often vast, settings.
SOURCE: The New York Times Subscription at 11:49AMTuesday, August 1, 2023
An adaptation of Michael Haneke’s 2012 movie at the Salzburg Festival eschews cinematic realism, instead taking a highly stylized approach.
SOURCE: The New York Times Subscription at 09:37AMThursday, May 25, 2023
A new production of Matthew Lopez’s seven-hour play was among 10 shows chosen for Theatertreffen, a celebration of the best theater from Germany, Austria and Switzerland.
SOURCE: The New York Times Subscription at 10:18AMFriday, April 28, 2023
Companies bring body horror and political statements to Berlin’s FIND festival of new international drama, where the Wooster Group is the “artist in focus.”
SOURCE: The New York Times Subscription at 01:54PMMonday, April 24, 2023
The director and star of the Volksbühne’s new show, based on a play by Lord Byron, picked up another role when one of the lead actors was missing in action.
SOURCE: The New York Times Subscription at 12:36PMMonday, 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 06:19AM 
