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.
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.