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.
Julien Balajas’s adaptation of Shakespeare’s Macbeth is more of a miss than a hit. And it could have been a hit. There is much to like: a pacey new Fr...
King Lear is perhaps the darkest tragedy written by Shakespeare. Its power lies in great emotions it stirs in audiences of all generations. The best s...
Melly Still’s adaptation of Shakespeare’s Cymbeline for the RSC, now shown at the Barbican, is an inventive reverie-cum-horror which revels in dark hu...
Krzysztof Warlikowski is one of the representatives of the European ‘regie theatre’, a theatre driven and dominated artistically by directors, known f...
The War of the Roses trilogy, a reboot of the highly acclaimed 1963 RSC adaptation of William Shakespeare’s Henry VI parts 1-3 and Richard III by John...
The Winter’s Tale adapted and directed by Ross McGregor at The Lion and Unicorn Theatre as part of their Shakespeare Sessions is an accomplished and i...
1927’s Golem may be one of the most brilliant theatre productions of this century. It is an accomplishment of epic proportions as they effortlessly mi...
The stage adaptation of Philip Pullman’s version of the famousGrimm Tales has been invented as a lovely family entertainment perfect for Christmas and...
Dmitry Krymov’s very loose adaptation of A Midsummer Night’s Dream is both delightful and wacky but at the same time also entirely insignificant. The...
Affectionate, deliberate and stripped-back: all three words apply to the adaptation of Robert Holman’s play Jonah and Otto directed by Tim Stark and d...
