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.
The National Youth Theatre ensemble gives a knockout performance in the Frantic Assembly adaptation of Shakespeare’s Othello. The vibrant, fast-moving...
Kate Stafford’s adaptation of The Tempest is an important contribution to multicultural Shakespeare which in her company’s version of the play brings ...
Bereavement as a topic of a play is always challenging and Sarah Kosar’s surreal take on this perhaps most profound experience in everyone’s life is o...
James Graham’s Ink directed by Rupert Goold is theatrical dynamite. It is also one of the more staggering experiences you can have as a theatre goer. ...
Mehmet Ergen’s staging of Richard III is neither politically relevant nor entertaining. His contemporary take on Shakespeare’s story of the most viole...
This rare staging of Christopher Marlowe’s Tamburlaine by a British East Asian company, Yellow Earth (formed in 1995) is rather disappointing because ...
Ivo van Hove’s adaptation of Shakespeare’s Coriolanus, Julius Caesar and Antony and Cleopatra is a total theatre experience. The Flemish director make...
My Country; a work in progress is a verbatim work, compiled from numerous interviews conducted in towns across the UK in the wake of the June 2016 re...
Robert Icke’s Hamlet at Almeida Theatre is a resounding success. This is not because of the media hype associated with Andrew Scott’s turn as Moriarty...
Thomas Ostermeier blatantly revealed in a 2015 interview with Joseph Pearson that with his adaptation of Richard III he wanted to celebrate evil on st...
