Alice Saville responds to an influx of complaints regarding Exeunt’s review of the Royal Ballet’s Mayerling.
Pain and pleasure: Louise Orwin’s solo performance is a powerful, uneasy look at the trouble with sex positivity.
From 19th century revolutionary Paris to the Black Lives Matter movements: Nemo Martin explores how Victor Hugo’s story of protest is being reimagined by online fans.
Politics and pain: Nic Green’s performance is an artful exploration of rhetoric and deceit.
Following the launch of The Bridge, a venture capital-funded space helmed by Nicholas Hytner, Alice Saville asks why London’s new theatres are looking to the past, not the future.
Edward Albee’s play is “a wonderfully complex exploration of the boundaries of sexual freedom”.
A muddled adaptation of Leonora’s surrealist novel in Peckham’s new theatre space.
‘The Privileged’ uses a furry polar bear suit to confront racism head on. Alice Saville chats to Jamal Harewood about audience reactions, game theatre, and his new performance ‘Word’.
Nina Segal’s play about violence shows how the internet turns us all into our own worst nightmares.
“There’s a huge culture of people from working class backgrounds feeling inadequate within the arts.” Catherine Hoffman explains how shame keeps people powerless, and how her performance as ‘Stench Wench’ comes clean about class.
Joan is a fiercely brilliant, drag king take on medieval history. Alice Saville chats to its creator Lucy J. Skilbeck about queer politics, Milk Presents, and why theatre should follow drag’s lead.
Joe Hill-Gibbins strips away Shakespeare’s moonshine and magic, and replaces it with an awful lot of mud.
There’s a long history of same-sex romance between women being exploited as a male fantasy. Naomi Westerman talks about rejecting the male gaze, and her new play Puppy.
Scottee’s new show Bravado is an unsparing look at his relationship with masculinity. Here, he looks at confessional performance, self care, and asks “Must all working class artists bleed for their supper?”
As cinema, TV broadcasts and online streaming offer more and more ways to watch performance, Alice Saville asks why the theatre world is so slow to embrace the potential of film.