Not only how the world is, but how it might be: Maddy Costa reviews See Me Now and The Space Between Us.
A portrait of two bodies resisting: Maddy Costa reviews Rachael Young and Dwayne Antony’s performance at IBT17.
Two men are dancing: Maddy Costa reviews Lone Twin’s durational performance at Bristol’s In Between Time festival.
Busty Beatz, MD of Hot Brown Honey, is on residency at Wellcome Collection as part of The Sick Of The Fringe. She talks to Maddy Costa about making the personal political, and confronting Wellcome’s colonialism.
After two decades of writing about performance, Maddy Costa is taking a frightening leap into writing for the stage. She explains why Crew For Calais’s work inspired her to tell the stories of last year’s chaotic refugee camp clearances.
A bloody revolution: Maddy Costa discusses a visit from auntie Flo, and other euphemisms.
Maddy Costa’s Christmas sing-a-long review of Le Gateau Chocolat’s Duckie at the Southbank Centre.
Maddy Costa discusses Scottee’s “vital, uneasy, excoriating, demanding” new work.
Maddy Costa talks to Xavier de Sousa about migration, being a host and his new show POST at the Ovalhouse.
Casting out on a merciless sea: Maddy Costa reviews My Mother Medea at the Unicorn Theatre.
Room for the imagination (but not the f-word): Maddy Costa reviews a half-term children’s show at the Discover Children’s Story Centre.
“You just do what you can, and don’t be overwhelmed by how enormous the scale of things is” – as right-wing extremism grows and the refugee crisis worsens, Shon Dale-Jones is touring The Duke, a storytelling piece that hinges on a china figurine. Here, Maddy Costa talks to him about fundraising through performance, poverty, and making work with a social purpose.
Cut up: Maddy Costa’s collage review of Chris Brett Bailey’s new show at Ovalhouse.
The carnal heart pulsing within prison-bar ribs: Maddy Costa responds to Rachel Mars’ Our Carnal Hearts.
Best friends, bad friends and record collections: Maddy Costa discusses the DIY spirit of punk and Gregory Moss’s play.