Thursday, February 13, 2020
An avant-garde Berlin director has sold out a 2,000-seat venue that usually draws crowds with death-defying acrobatics or rousing musical numbers.
SOURCE: The New York Times Subscription at 06:33AMThursday, January 23, 2020
Under a new artistic director, this season at Austria’s main playhouse includes 30 premieres, ranging from classical dramas to brand-new works.
SOURCE: The New York Times Subscription at 06:48AMFriday, December 13, 2019
Thursday, November 21, 2019
Friday, November 1, 2019
Directors have adapted challenging works by Virginie Despentes and Michel Houellebecq, with varying levels of success.
SOURCE: The New York Times Subscription at 04:03AMThursday, October 10, 2019
Berlin’s theater season opens with directors taking audiences through the fog of war, down the gloomy tunnels of cyberspace and into a world without hope.
SOURCE: The New York Times Subscription at 07:54AMThursday, August 29, 2019
‘European democracy is, and always has been, a racist construct,’ according to the organizers of the Ruhrtrienniale.
SOURCE: The New York Times Subscription at 10:32AMThursday, August 1, 2019
Thomas Ostermeier’s new production of “Youth Without God” is the centerpiece of the drama offerings at this year’s event.
SOURCE: The New York Times Subscription at 05:12AMThursday, July 11, 2019
“Tree” and “Invisible Cities,” two blockbuster works, lack the impact of the festival’s more intimate experiences.
SOURCE: The New York Times Subscription at 06:12AMMonday, May 20, 2019
Thursday, April 25, 2019
Elfriede Jelinek’s latest, “Am Königsweg,” is one of several new productions of Austrian plays that engage with contemporary political realities.
SOURCE: The New York Times Subscription at 05:41AMFriday, April 12, 2019
In recent seasons, Odon von Horvath has become one of the most performed playwrights in the German-speaking world. But who is he, and why is he so popular now?
SOURCE: The New York Times Subscription at 09:24AMThursday, April 11, 2019
The Schaubühne’s FIND Festival showcases new theater from around the world, from Brussels to Santiago, Chile, and Montreal to Barcelona, Spain.
SOURCE: The New York Times Subscription at 04:29AMThursday, March 14, 2019
Throughout Germany, ambitious modern reinventions of plays by Sophocles and Aeschylus argue for the timelessness of these ancient works.
SOURCE: The New York Times Subscription at 07:23AMThursday, January 31, 2019
Productions in the region often take liberties with the text. But in stagings of Arthur Miller, Eugene O’Neill and Tennessee Williams, the directors (mostly) stick to the script.
SOURCE: The New York Times Subscription at 09:54AMThursday, January 10, 2019
From “The Sound of Music” in Salzburg, Austria, to “Candide” in Berlin, German-speaking theaters are bringing fresh appeal to repertory staples.
SOURCE: The New York Times Subscription at 04:18AMThursday, December 20, 2018
Our three European theater critics pick their favorite productions of the year — plus a turkey for the festive season.
SOURCE: The New York Times Subscription at 06:04AMFriday, December 14, 2018
Several new productions this season that take their cue from European film classics from the 1960s and ’70s, with adaptations of Visconti, Bergman and Polanski.
SOURCE: The New York Times Subscription at 02:48AMThursday, November 22, 2018
Friday, November 2, 2018
Kirill Serebrennikov, under house arrest in Moscow, is staging a production of “Così Fan Tutte” in Zurich through a process closer to espionage than traditional theater.
SOURCE: The New York Times Subscription at 10:48AMNo playwright is more respected in Germany than Shakespeare. Some productions just have a strange way of showing it.
SOURCE: The New York Times Subscription at 02:48AMTuesday, October 16, 2018
“Dionysos Stadt” is a 10-hour epic inspired by the Greek classics that traces the arc of human drama. It’s just one of many new productions on Munich’s stages.
SOURCE: The New York Times Subscription at 02:18PMThursday, September 20, 2018
A crop of new works written by their directors — or maybe directed by their playwrights — is lighting up stages in Berlin and Frankfurt at the beginning of the theater season.
SOURCE: The New York Times Subscription at 07:18AMThursday, August 23, 2018
The Ruhrtrienniale festival in Germany presents unpredictable works in postindustrial settings. But this year controversy has overshadowed the event.
SOURCE: The New York Times Subscription at 07:18AMThursday, August 2, 2018
It’s an event more associated with classical music, but drama is in its D.N.A. Two productions of German-language classics at the festival show differing approaches.
SOURCE: The New York Times Subscription at 05:48AMFriday, July 13, 2018
Two plays at one of the city’s most important theaters make the case for accepting displaced people, as politics there is turning against them.
SOURCE: The New York Times Subscription at 03:48AMThursday, June 21, 2018
From Édouard Louis’s novel “History of Violence” to Boccaccio’s 14th-century “Decameron,” German theaters love to mount literary adaptations.
SOURCE: The New York Times Subscription at 05:18AMThursday, May 3, 2018
Frank Castorf led Berlin’s Volksbühne for a quarter century. One of his last productions is being presented again in a showcase of the year’s best German theater.
SOURCE: The New York Times Subscription at 05:48AMThursday, March 29, 2018
Restrained stagings of Schiller and Shakespeare are vital and exciting, but a production based on the New Testament falls flat.
SOURCE: The New York Times Subscription at 12:18AMTuesday, March 27, 2018
A German residency for the Gogol Center, a leading Moscow avant-garde group, drew attention to the plight of its leader, Kirill S. Serebrennikov.
SOURCE: The New York Times Subscription at 12:41PMThursday, March 1, 2018
