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.
A question of responsibility: Maddy Costa reviews Josette Bushell-Mingo performing at the Young Vic.
Inspired by Klanghaus’s 800 Breaths, Maddy Costa embarks on a lyrical exploration of music in theatre.
How can theatre accommodate neurodiversity? Maddy Costa explores how Art with Heart’s touring show ‘Declaration’ remagines relationships between artist, venue and audience.
An experience of great satisfaction: Maddy Costa reviews Thomas Adès opera adaptation of Luis Buñuel’s 1962 surrealist film.
Maddy Costa talks to alternative cabaret star Le Gateau Chocolat about puncturing drag stereotypes, making work about depression, and surviving in a world where “We have to keep fighting for the things and the values that we hold dear.”
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.