Penetrate the earth in the wrong way it will react. Penetrate the human body with enough daily violence and what…? Maddy Costa reviews Jo Bannon’s new work as part of Unlimited Festival.
“Be a lady”: Maddy Costa reviews the Wooster Group’s staging of when Normal Mailer met with 1970s feminists.
Power zaps like an electric current… Maddy Costa reviews Back to Back Theatre, as part of LIFT 2018.
Residue as runes: Maddy Costa reviews Gob Squad, as part of LIFT 2018.
In the aftermath of the announcement that Lyn Gardner’s Guardian contract is coming to an end, Maddy Costa writes on theatre world hierarchies and their resistance to change.
A celebration of the power of music to hold and communicate human history: Maddy Costa reviews a cabaret of songs banned by the Nazis.
Maddy Costa writes on getting exercised about theatre criticism and ideas of treating the audience as consumer, spun through a review of Choral Cuisine at Bristol’s Mayfest.
“Thank you for loving me.” Maddy Costa reviews Anthony Neilson’s new play, which follows a couple’s foundering sex life.
The bees are saved, and everybody listens: Maddy Costa reviews Tim Crouch’s new show for children and adults.
A magnolia paint job: Maddy Costa reviews the Royal Opera’s adaptation of Neil Gaiman’s story.
In the last of three articles, Maddy Costa explores how The Place involved dance fans in developing new work, and their conflicting expectations of the process.
In the second of a trio of articles, Maddy Costa explores the difficulty of seeding new relationships between choreographers and producers.
In the first of a trio of articles, Maddy Costa explores The Place’s three-pronged artist, producer, and audience development scheme.
We all knew: Maddy Costa on a complex exploration of the refugee crisis.
Evolving or revolving: Maddy Costa reviews Rachel Mars and nat tarrab’s new roller derby inspired work.