All stories by A.J. Goldmann on BroadwayStars

Thursday, May 25, 2023

‘The Inheritance’ Arrives at a Festival of German Drama by A.J. Goldmann

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 10:18AM
Friday, April 28, 2023

At a Berlin Festival, Avant-Garde Theater from Europe and New York by A.J. Goldmann

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 01:54PM
Monday, April 24, 2023

Review: Byronic Heroism in ‘Sardanapal’ at the Berlin Volksbühne by A.J. Goldmann

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 12:36PM
Monday, March 27, 2023

‘James Brown Wore Curlers’ Review: A Superfan Becomes Celine Dion by A.J. Goldmann

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 01:32PM
Wednesday, March 8, 2023

Review: A Star Director Takes a Back Seat in ‘The Seagull’ by A.J. Goldmann

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 07:00PM
Monday, February 20, 2023

Review: ‘Die Monosau’ Revives Chaotic Energy in Berlin by A.J. Goldmann

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 06:27AM
Sunday, February 12, 2023

Jürgen Flimm, Director of Festivals and Opera Houses, Dies at 81 by A.J. Goldmann

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 10:47AM
Friday, January 20, 2023

Review: ‘Drama,’ at the Volksbühne, Contains Many Things. But Drama Isn’t One. by A.J. Goldmann

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 11:59AM
Thursday, December 15, 2022

The Best (and Worst) Theater in Europe in 2022 by Matt Wolf, Laura Cappelle and A.j. Goldmann

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 05:18AM
Wednesday, December 14, 2022

With ‘Company,’ Antonio Banderas Brings Sondheim to Spain by A.J. Goldmann

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 11:42AM
Thursday, December 8, 2022

Drama, in German, in the Shadow of ‘Leopoldtstadt’ by A.J. Goldmann

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 04:54AM
Thursday, November 17, 2022

On German Stages, Women Take Control by A.J. Goldmann

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 06:32AM
Thursday, October 27, 2022

Avant-Garde Theater, or a Musical: Who Says You Need to Choose? by A.J. Goldmann

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 05:55AM
Friday, October 7, 2022

Review: ‘Hamilton’ in German? It’s a Thrill. by A.J. Goldmann

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 01:49PM
Thursday, October 6, 2022

A Splashy, Messy All-Naked Revue by A.J. Goldmann

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 07:33AM
Thursday, September 15, 2022

Plays of Helplessness, and Hope, as the Planet Burns by A.J. Goldmann

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
Thursday, August 25, 2022

At Salzburg Festival, Directing Slow and Fast by A.J. Goldmann

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 05:54AM
Thursday, August 4, 2022

In Salzburg, New Lives for Two Scandalous Plays by A.J. Goldmann

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 04:42AM
Thursday, June 30, 2022

In Munich, Young Directors Offer Horrors Both Real and Fantastical by A.J. Goldmann

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 06:07AM
Thursday, June 9, 2022

A Homecoming, of Sorts, for Viennese Plays by A.J. Goldmann

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 05:33AM
Thursday, May 19, 2022

Meat Loaf, Britney and a ‘Cancel Culture’ Musical by A.J. Goldmann

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 06:06AM
Thursday, May 5, 2022

On European Stages, Myths and Memories Merge by A.J. Goldmann

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 03:42AM
Tuesday, April 26, 2022

Sasha Waltz’s ‘In C’ Marries Choreography and Improvisation by A.J. Goldmann

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 01:35PM
Thursday, April 7, 2022

At the FIND Festival, Different Ways of Staging the Real by A.J. Goldmann

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 08:36AM
Thursday, March 24, 2022

For Female Directors, a Generational Shift by A.J. Goldmann

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 08:36AM
Thursday, March 3, 2022

New Takes on Old Myths (With No Gods or Dragons) by A.J. Goldmann

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 05:42AM
Thursday, February 10, 2022

New Playwrights’ Voices, in the Land Where Directors Rule by A.J. Goldmann

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 04:18AM
Friday, January 21, 2022

After Being Stuck in Russia, Kirill Serebrennikov Directs a Play in Germany by A.J. Goldmann

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 12:18PM
Thursday, January 20, 2022

When Britney Came to Brecht’s House by A.J. Goldmann

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 04:18AM
Thursday, December 16, 2021

The Best (and Worst) Theater in Europe in 2021 by Matt Wolf, Laura Cappelle and A.j. Goldmann

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 04:18AM
Thursday, December 9, 2021

A Standing Army of Actors Keeps Germany’s Theaters Going by A.J. Goldmann

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 04:06AM

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