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Café Europa

Café Europa

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Home and away: Nassim Soleimanpour's White Rabbit, Red Rabbit
On a theatrical experiment that became an international phenomenon.
 • Natasha Tripney
Hope and euphoria: Hungarian cultural workers look to the future
On how Hungarian cultural workers are feeling following April's election.
 • Natasha Tripney
Good vibrations: Jaz Woodcock-Stewart's The Glass Menagerie
On the work of the young British director selected for this year's Theatertreffen.
 • Natasha Tripney
Berlin round-up: Fräulein Else, Cassandra, or Song of the Canaries, Wallenstein
I went to Berlin, saw some shows and had some thoughts.
 • Natasha Tripney
Made you look: Alexander Zeldin's CARE
On the British director's return to London with a new play set in a care home.
 • Natasha Tripney
The great unknown: Łukasz Twarkowski's Oracle
On the second part of the Polish director's trilogy about scientific discovery and the limits of human understanding.
 • Natasha Tripney
London round-up: Between the River and the Sea, I Saw Satan at the 7-Eleven, One Flew Over the Cuckoo's Nest
I been away a long time.
 • Natasha Tripney
Trump card: Wunderbaum's Die Kunst des Deals
How do you adapt Donald Trump's 1980s tome for the stage and, more importantly, should you?
 • Natasha Tripney
Being boring: On the experience of being bored in the theatre
Critics reflect on the times when theatre has left them, shall we say, less than enthralled.
 • Natasha Tripney
New directions: Internationalising the Dailes Theatre
On director Viesturs Kairišs and his attempts to put the Latvian theatre on the European map.
 • Natasha Tripney
"An act of vandalism": What's going on at Lisbon's Teatro do Bairro Alto
On a why a change of leadership at Lisbon's Teatro do Bairro Alto has caused outrage in the arts community.
 • Natasha Tripney
Keep it real: Boris Nikitin's festival of documentary performance
On a Swiss director whose work critiques the portrayal of reality on stage.
 • Natasha Tripney
Café Europa
Café Europa
A weekly newsletter by Natasha Tripney dedicated to European theatre. You can expect a mix of in-depth reviews and profiles of the artists and companies that excite me, plus other stuff.
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