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.
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.