Aleksandra is a content marketing specialist and a former PhD student at the Department of Studies in Culture at Adam Mickiewicz University's Faculty of English. Her theatrical interests revolve around Polish contemporary theatre and post-dramatic theatre. When not thinking about public relations or playing with her giant Maine Coon named Tybalt, she lets her brain be flooded with glitter, sequins, and techno-rock music.
A new play Oranges and Ink celebrates two extraordinary women from the seventeenth century: Aphra Behn and Nell Gwyn. Behn was one of the most popular...
The Royal Shakespeare Company production of The Merry Wives of Windsor is either a very good panto or a very bad staging of Shakespeare. When watching...
In his adaptation of Shakespeare’s Richard II, Joe Hill-Gibbins channels Beckettian grotesque with great results by focusing on exaggeration and exces...
Barrie Kosky’s adaptation of Carmen is a bit hit-and-miss. There is plenty to enjoy, but aesthetically it is a crazy concoction that often distracts f...
Josie O’Rourke’s adaptation of Measure for Measure, probably Shakespeare’s most famous so-called problem play, is frankly unnerving and infuriating - ...
Polly Findlay’s modern costume staging of Macbeth, which transferred from the RSC to London’s Barbican, is this year’s definitive production of Shakes...
I do like all theatrical experiments that breathe new life into the classics and make them more relevant for our time. I am a big fan of audacious Sha...
Yet another premiere of a new play at the Royal Court, this time The Woods by Robert Alan Evans, impresses and proves that contemporary British drama ...
Cheek by Jowl’s French Pericles is a surreal, funny and touching production, but its uneven energy and avant-garde, very brief adaptation of Shakespea...
Can you get away with a timeless, universal staging of Julius Caesar in the ever-dividing world we live in? Nicholas Hytner just did, with his tense, ...
