The Whole World focuses on the incoherence that lurks underneath the empowering narratives we tell about ourselves.
Israeli dramatist Savyon Liebrecht’s new play A Case Named Freud is her most ambitious and dramatically satisfying yet.
In interesting ways, German Stage’s ongoing exploration of Germany’s immigrant populations provides a lens through which we can evaluate how we perceive our immigrants and how we treat them.
Does the distrust of (even a little) narrative ambiguity by North American dramaturgs and audiences mean that international plays must be made more ‘cinematic’ when they are produced here?
In his satire “The Golden Dragon,” Roland Schimmelpfennig holds his funhouse mirror up to “theater-people”: be they artists, audience, teachers, or students.
Dramatist Theresia Walser is careful to point out that these women did not merely benefit from the abuses of authoritarian power, but perpetrated many of them as well.
Director Guy Ben-Aharon is on a roll. Working through Israeli Stage and German Stage, he has brought together another smart, compelling foreign play (an American premiere) and a first-rate cast.
Ingeborg Bachmann wanted freedom for them both. She says in her letter, “I am free and I am lost in this freedom.” Dominique Frot is a brave actress. She presents the poet’s freedom in her body and voice.
Playwright Gericke-Schönhagen, hoping to avoid the phenomenon of talking heads, deliberately placed emphasis on those letters between Voltaire and Frederick that dramatized personalities rather than ideas.
“The Boston theatre community can always profit from international influx. The German theatre scene in particular is quite innovative both in the plays being written and the productions that reach the stage.”