Maddy Costa tells the story of Unfolding Theatre’s first pandemic year, and reflects on the unexpectedly hopeful lessons learned in 2020.
Alternative living: Maddy Costa shares her correspondences with friends about Anna Rispoli and Martina Angelotti’s show about four radical European collectives.
Maddy Costa reflects on Battersea Arts Centre’s collection of short films exploring motherhood – ‘that overwhelm of expectation, that you are all things to all people’.
Maddy Costa writes about the non-hierarchical reading group that explores big questions about theatre, socialism and power structures.
Maddy Costa turns her interview with Encounter’s director Jen Malarkey into an interactive twine story, ahead of Friday’s stream of The Kids Are Alright.
Maddy Costa reflects on the conversations started by WTF Next, an online meeting place to discuss the future of theatre.
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.