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.
An experience filtered through memories: Alice Saville reviews the transfer of John Tiffany’s The Glass Menagerie to the West End.
The novelist and critic John Berger died at the beginning of this year. Here, Richard Turney explores his work’s “porous and fertile border” with the theatre world, and his influence on Chris Goode and Simon McBurney.
Playwright and passionate Doctor Who fan Tim Foley argues that it’s time that sci-fi in theatre came of age, ahead of his post-Brexit dystopia Astronauts of Hartlepool.
Jo Clifford’s ecstatic show ‘Jesus, Queen of Heaven’ brought together christian imagery and trans politics. Here, she writes about the transformative ideas she discovered while translating ‘The House of Bernarda Alba’ for Manchester Royal Exchange and Graeae.
Vault Festival opens this week. Here’s Vault director Tim Wilson on why this year’s shows are looking to the future, with a dedicated strand of space-themed work.
Steakhouse Live’s Longer, Wetter, Faster, Better is a festival of new radical and queer performance art. As part of a pilot writing project organised by academics Bojana Jankovic and Diana Damian Martin, three writers reflect on the ideas raised by the anarchy, glitter and politics of its performances.
Last month, debates on online theatre criticism raged after incendiary pieces by Michael Billington and Matt Trueman. In their wake, critics and academics Duška Radosavljević, Mark Fisher and Karen Fricker hold an international conversation about theatre, democracy and the role of criticality.
The artistic director of The Yard mixes experimental theatre and club nights. He explains how this helps him create and programme work with music at its heart.
As Exeunt launches its Friends Scheme, Alice Saville discusses why it’s time to imagine new ways of funding theatre criticism.
Berlin’s Volksbühne Theatre has been in turmoil since it announced that its new artistic director would be Chris Dercon, outgoing director of London’s Tate Modern. Samantha Jayne Williams explores the controversy, and what it says about theatre, modernity, and narratives of resistance.
Each poem is a story: Alice Saville reviews Mark Rylance and Louis Jenkins’ Nice Fish.