Bodies in a movement: Maddy Costa writes on Coletiva Ocupação’s ‘radiant’ show telling the stories of some of the Brazilian students who occupied their schools in 2015.
‘Blood drips across the century but the vein still binds’: Maddy Costa writes on double bill of searing performances by Ultimate Dancer and Julie Cunningham, part of NOW 20.
Circus at the end of the world: Maddy Costa writes on Ockham Razor’s intergenerational aerial collaboration.
A howl of despair: Maddy Costa writes on Leah Shelton’s latex-clad, lipsync take on the myth of Pandora’s box.
Imagining a future: Maddy Costa writes on Danish theatre company Fix & Foxy’s ‘materially sparse, philosophically expansive’ show.
Becoming universal: Maddy Costa writes on Danusia Samal’s new play, a ‘familiar, homely and true’ exploration of its characters’ tangled identities.
“To react and respond is just human”: Maddy Costa writes on how audiences are silenced, and the complex history of ideas of ‘civilised’ behaviour.
Wild and well-armed: Maddy Costa reviews Documental Theatre’s country and Western musical following a BHS employee robbed of her pension.
“You can’t build a country on wants”: Maddy Costa writes on Ella Hickson’s play, feminism and capitalism.
Caring ‘for the complexity of social interconnection’: Maddy Costa writes on Human Jam, which excavates the impact of HS2 on Camden.
Maddy Costa writes on the community-building, conversation-starting power of Theatre Clubs, which make space for audiences to discuss the work they’ve seen.
Eavesdrop on Jamal Gerald and Maddy Costa’s conversation about spirituality, their working relationship and his new show ‘Idol’.
“This is a social justice issue”: Maddy Costa talks to Naomi Alexander about community and participation as she relaunches Brighton People’s Theatre.
Maddy Costa conducts an email dialogue with Annie Siddons about her new show Dennis of Penge, a triumphant narrative of addiction, recovery, and fighting the PIP system.
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.