From Salzburg to Dijon to Paris, a German choreographer adds striking dance to the sacred oratorio.
SOURCE: The New York Times Subscription at 10:40AMRobert 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 01:12PMIn 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 09:12PMRobert 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 11:32AMAt 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 03:32PMA 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 02:06PMElfriede 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 12:48PMHis 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 10:48AM“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 01:42PMBarrie 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 01:07PMAfter 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 01:33PMRecent 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 10:55AMThe best productions at the Ruhrtrienniale festival created a sense of unity with their unique, often vast, settings.
SOURCE: The New York Times Subscription at 11:49AMAn 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 09:37AMA 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 10:18AMCompanies 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 01:54PMThe 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 12:36PMIn “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 01:32PMThomas 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 07:00PMChaos 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 06:27AMHe 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 10:47AMThe 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 11:59AMThe 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 05:18AMMany 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 11:42AMNew 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 04:54AMFemale-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 06:32AMIn 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 05:55AMThe 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 01:49PMFlorentina 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 07:33AMNew 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 06:19AMThorsten 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 05:54AM
