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.
What must women do to survive? Maddy Costa reviews the London premiere of David Greig’s new version of Aeschylus.
I want to tell her the baby does stop crying, eventually: Maddy Costa reviews the UK premiere of Magali Mougel’s play about motherhood.
Me, Also Me, Placatory Me, Non-Judgemental Me and Impatient Me: Maddy Costa on Chris Thompson’s new play about surrogacy.
Work that wants to change people: Maddy Costa reviews Slung Low’s Flood Parts 1 – 4.