skip to main | skip to sidebar

Postcards from the Gods

Sunday, 22 May 2016

Exeunt: Theatre2016

[written 13/05/16]


Click here
Posted by Andrew Haydon at 16:51
Email ThisBlogThis!Share to XShare to FacebookShare to Pinterest

No comments:

Post a Comment

Newer Post Older Post Home
View mobile version
Subscribe to: Post Comments (Atom)

Blog Archive

  • ►  2017 (102)
    • ►  December (2)
    • ►  November (7)
    • ►  October (7)
    • ►  September (6)
    • ►  August (20)
    • ►  July (7)
    • ►  June (2)
    • ►  May (17)
    • ►  April (13)
    • ►  March (12)
    • ►  February (9)
  • ▼  2016 (159)
    • ►  December (2)
    • ►  November (2)
    • ►  October (24)
    • ►  September (8)
    • ►  August (26)
    • ►  July (14)
    • ►  June (19)
    • ▼  May (20)
      • The Forbidden Zone – Barbican, London
      • Ophelias zimmer – Royal Court, London
      • 4.48 Psychosis – ROH at Lyric, Hammersmith
      • 32 Rue Vandenbranden – HOME, Manchester
      • Unsent Postcards: Titus Andronicus – Ojunszkij Sak...
      • Unsent Postcards: Twelfth Night – Tamási Áron Thea...
      • Unsent Postcards: The Life of Galileo – Nemzeti Sz...
      • Unsent Postcards: The Public – Teatro de La Abadía...
      • Unsent Postcards: The Champion – Katona József Szí...
      • Exeunt: Theatre2016
      • MG+MSUM – Ljubljana Museum of Contemporary Art 3
      • MG+MSUM – Ljubljana Museum of Contemporary Art 2
      • MG+MSUM – Ljubljana Museum of Contemporary Art 1
      • Laibach – Cankerjev Dom, Ljubljana
      • Republika Slovenija – Mladinsko, Ljublana
      • Drame Princes – Mladinsko, Ljublana
      • Ristić Kompleks – Mladinsko Theatre, Ljubljana
      • Butnskala – Prešernovem gledališču, Kranj
      • ÜberŠkrip – Mladinsko Theatre, Ljubljana
      • The Stage: Should theatre critics need an ‘intelle...
    • ►  April (6)
    • ►  March (15)
    • ►  February (18)
    • ►  January (5)
  • ►  2015 (193)
    • ►  December (5)
    • ►  November (10)
    • ►  October (18)
    • ►  September (11)
    • ►  August (27)
    • ►  July (18)
    • ►  June (29)
    • ►  May (22)
    • ►  April (19)
    • ►  March (20)
    • ►  February (4)
    • ►  January (10)
  • ►  2014 (154)
    • ►  December (4)
    • ►  September (11)
    • ►  August (18)
    • ►  July (28)
    • ►  June (26)
    • ►  May (8)
    • ►  April (14)
    • ►  March (12)
    • ►  February (10)
    • ►  January (23)
  • ►  2013 (113)
    • ►  December (12)
    • ►  November (19)
    • ►  October (18)
    • ►  September (14)
    • ►  August (9)
    • ►  July (11)
    • ►  June (11)
    • ►  May (5)
    • ►  April (1)
    • ►  February (3)
    • ►  January (10)
  • ►  2012 (95)
    • ►  December (4)
    • ►  October (14)
    • ►  September (12)
    • ►  August (24)
    • ►  July (6)
    • ►  June (5)
    • ►  May (12)
    • ►  April (18)
  • ►  2011 (48)
    • ►  September (1)
    • ►  August (1)
    • ►  July (1)
    • ►  June (1)
    • ►  May (14)
    • ►  April (5)
    • ►  March (15)
    • ►  February (9)
    • ►  January (1)
  • ►  2010 (51)
    • ►  July (5)
    • ►  June (16)
    • ►  May (13)
    • ►  April (16)
    • ►  February (1)
  • ►  2009 (70)
    • ►  December (1)
    • ►  November (8)
    • ►  October (4)
    • ►  September (15)
    • ►  April (14)
    • ►  March (11)
    • ►  February (7)
    • ►  January (10)
  • ►  2008 (94)
    • ►  December (1)
    • ►  November (1)
    • ►  September (12)
    • ►  July (5)
    • ►  June (17)
    • ►  May (13)
    • ►  April (11)
    • ►  March (11)
    • ►  February (6)
    • ►  January (17)
  • ►  2007 (88)
    • ►  December (7)
    • ►  November (10)
    • ►  October (14)
    • ►  September (24)
    • ►  August (12)
    • ►  July (21)

Popular

  • Marxism and Theatre
    [mostly a book review of A Good Night Out by John McGrath. Some thought-experiment] While I was writing my intro chapter for Modern B...
  • Seven Jewish Children - Royal Court
    Caryl Churchill’s Seven Jewish Children is pretty much as blunt as The Stone is sharp; substituting an hour of subtle moral inquiry for t...
  • On casting, and on meaning on stage
    [ This is something of a work in progress. It’s also already much too long. It currently stands at 7,500 words and, frankly, that more tha...
  • American Psycho – Almeida
    [ over 3000 words of anxiety and torture for you, dear reader ] The first half of this new musical of American Psycho provokes non-s...
  • Macbeth - Gielgud Theatre
    Written for CultureWars.org.uk Rupert Goold’s new production of Macbeth , starring Patrick Stewart, transfers to the West End from Chicheste...
 

palpable hits