Close Login Box
Barrie Kosky’s Berlin production of the 1975 musical adds a touch of burlesque and a dash of Bertolt Brecht.
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.
Recent premieres in the city ranged from a spare take on the recent Broadway hit “Prima Facie” to a dose of sheer artistic lunacy.
The best productions at the Ruhrtrienniale festival created a sense of unity with their unique, often vast, settings.
An adaptation of Michael Haneke’s 2012 movie at the Salzburg Festival eschews cinematic realism, instead taking a highly stylized approach.
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.
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.”
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.
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.
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.
Chaos also plays a role in a new play at the Volksbühne theater that delivers on its pledge of a director-free evening.
He left his mark in Hamburg, Berlin, Strasburg and elsewhere. He also directed a memorable “Ring” cycle in Bayreuth.
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.
The Times’s three European theater critics pick their favorite productions of the year — plus a turkey apiece for the festive season.
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.
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.”
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.
In Germany, a sonically daring Chekhov adaptation and a post-apocalyptic western “opera” are breaking down barriers between genres.
The hit musical arrived in Hamburg with its verve, ingenuity and idealism intact. And it gains unexpected depth from being staged in Germany.
Florentina Holzinger’s striking, bewildering and stomach-churning new piece, “Ophelia’s Got Talent,” opened the season at the Volksbühne theater in Berlin.
New works by major German-language dramatists at the Kunstfest Weimar festival tackle ethical questions at a moment of ecological anxiety.
Thorsten Lensing takes years between shows; Ewelina Marciniak puts on several each season. Both theater makers are presenting new work in Austria.
Works that once horrified European audiences are now centerpieces of the drama offerings at the tony Austrian festival.
The Radikal Jung festival transports theatergoers to Russia’s 2014 invasion of eastern Ukraine and an American high school in the Middle Ages.
Two recent British dramas with Austrian roots made it to Vienna this season: “Leopoldstadt,” by Tom Stoppard, and Robert Icke’s “The Doctor.”
At Theatertreffen, an annual celebration of the best in German-language performance, music plays a profound, and intelligent, role.
New productions by the theater titans Krzysztof Warlikowski and Frank Castorf play games with ancient Greek folklore and modern history.
Waltz’s dance, born in deep lockdown, embraces the openness and fluidity of Terry Riley’s classic minimalist score. It’s coming to BAM.
At Berlin’s FIND festival of new international drama, several productions use transcripts to explore questions of state power and identity.
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
A theatrical reworking of Wagner’s “Ring” and a feminist revision of some Greek classics show how ancient legends can illuminate contemporary obsessions.