Reviews
Review | Police — A Georgian take of Mrożek’s satire of totalitarianism
A political prisoner’s compliance exposes the absurd co-dependence of state power and dissent, though the staging feels fragmented and uneven.
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Reviews
Review | Haide — When symbolism overshadows substance in Georgian theatre
Symbolic but static, Haide misframes universal issues, with rushed delivery and dated ideas that dilute its impact on modern audiences.
Reviews
Review | Alfred and Violetta — Rezo Gabriadze’s most famous marionette tale of love amidst conflict
This preeminent production by Georgian director and puppeteer Rezo Gabriadze sets the classic plot of La Traviata amidst the Georgian Civil War.
Reviews
Review | Samanishvili’s Stepmother — a Georgian classic reinterpreted for a modern audience
This adaption of a classic Georgian novel ups the humour, but leaves an English-speaking audience befuddled.
Reviews
Review | Who’s Gonna Heal Our Wounds? — a clichéd look at queer feminism in Georgia
Who’s Gonna Heal Our Wounds is experimental theatre that delivers powerful feminist statements, but lacks depth and a solid dramatic structure.
Reviews
Review | The Human Voice — A haunting dialogue between despair and self-preservation
Tata Popiashvili’s The Human Voice reframes heartbreak as dialogue between despair and resilience, balancing loss with the strength to let go.
Reviews
Review | Do Not Leave the Room — Georgian theatre that dares to speak out
Georgian director Ketevan Samkharadze’s five-act political farce doesn’t shy away from exposing the country’s hardest truths.
