Review: SINGIN' IN THE RAIN at Le Théâtre Du Lido
Robert Carsen turns the Lido’s cabaret heritage into a theatrical advantage, creating the most convincing production yet of its musical-theatre era.
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Robert Carsen turns the Lido’s cabaret heritage into a theatrical advantage, creating the most convincing production yet of its musical-theatre era.
Tucked into La Grange's intimate corner of Bruxellons, Andrew Lippa's near-sung-through two-hander proves a musical can carry real psychological weight.
A brilliantly cast, beautifully judged French production of A Gentleman’s Guide to Love and Murder, where British manners, French theatrical tradition and comic murder collide at the Théâtre du Palais-Royal.
Some festivals go out with a whimper.
Boris Charmatz dances with discomfort.
What better way to close out the Festival d'Avignon than with a love letter to the theatre? At the conclusion of Casting Lear, now performing at the Opéra Grand Avignon as part of the Festival, creator and performer André Jiménez makes an impassioned case for the art form.
In Christiane Jatahy and Wagner Moura's Un Procès Après l'Ennemi du Peuple, now performing at the Festival d'Avignon's Gymnase du Lycée Aubanel, Thomas Stockmann finally gets his day in court.
With its generous public funding for culture, France's Festival d'Avignon can produce theatrical spectacles on an extraordinary scale.
In his podcast, political commentator Ezra Klein has examined a curious conundrum within the modern elite: the pursuit of extraordinary qualities divorced from their original purpose.
In a BBC interview, famed director Katie Mitchell calls for fewer productions of Hamlet.
Across the Rhône from Avignon, in the picturesque town of Villeneuve, sits Villeneuve en Scène.
Some performances in Avignon require me to put on my Euro-goggles.
Molière is a surprising figure to hold such a central position in French culture.
A friendship lies at the heart of Nobel laureate Han Kang’s acclaimed 2021 novel We Do Not Part.
The accumulation of trauma over generations doesn’t dissipate.
In America, the dance marathon occupies a peculiar place in the cultural imagination.
Some performances leave their audience behind, plunging them into an unfamiliar thematic abyss.
In a Festival of sweeping epics, intimate works can easily get lost in the shuffle.
Contrary to the place critics occupy in the cultural imagination, I dread the prospect of an artist reading a negative review I have written.
What are the binds that tie us? That's the question posed by Muriel Imbach's delightful intergenerational work Nous ou Le Paradoxe du Hérisson, now performing at the Festival d'Avignon's Théâtre Benoît XII.
There comes a moment in every Festival d’Avignon when I yearn for convention.
In his essay 'Problems of the Theatre,' German playwright Friedrich Dürrenmatt argues that poetry should be made with the stage, not merely written for it or placed on it.
Silence, now performing at the Festival d’Avignon’s Carrière de Boulbon, invites audiences into something approaching the Dionysian.
When was the last time a piece of concert dance made you yell, “Hell yeah!”? For me, it was Sung Im Her’s 1 Degree Celsius at the Festival d’Avignon’s Cour du Lycée Saint-Joseph.
The beautiful island of Jeju lies in the Korean Strait some fifty miles south of the Korean Peninsula.