As part of her ongoing series exploring ideas of legacy in theatre, Rebecca Atkinson-Lord interviews Paul Hunter, artistic director of Told by an Idiot.
“I’ve always known that it’s a bad idea… to do things just to earn money” – Playwright David Eldridge discusses his schooldays, class, and theatre’s power to change people in the latest edition of Rebecca Atkinson-Lord’s podcast series The Legacy Tapes.
Chris Goode talks risk, finding new ways to exist together, and the changing performance landscape in the latest in Rebecca Atkinson-Lord’s podcast series The Legacy Tapes.
Rebecca Atkinson-Lord interviews Steven Atkinson, founder and longstanding artistic director of new writing festival HighTide, as part of a series of conversations about how to leave something lasting in the ephemeral medium of theatre.
Rebecca Atkinson-Lord interviews the co-artistic directors of Clean Break about their bold 40th anniversary season of participatory work.
“There’s so much fixation on how the pie is split.” In this interview with Rebecca Atkinson-Lord, Rupert Goold, artistic director of the Almeida, talks about privilege, the avant garde, and reaching beyond the Ottolenghi stereotypes.
Rebecca Atkinson-Lord and English Touring Theatre artistic director Richard Twyman talk about the politics, economics, and future of the UK’s touring network.
Rebecca Atkinson-Lord’s podcast continues with this conversation with David Jubb, outgoing artistic director of Battersea Arts Centre.
Rebecca Atkinson-Lord opens Season Three of her Legacy Tapes series with an interview with Lyn Gardner.
Rebecca Atkinson-Lord was among the speakers at Theatre 2016. Here, she explains why the weirdness of the conference’s format, and location in the old school commercial West End, made it “one of the best arguments for robust arts funding that I’ve seen in a really long time.”
“Have you ever noticed that the sort of Bad Things that happen to women in stories aren’t the same things that happen to men?” Rebecca Atkinson-Lord on why simply increasing the number of female roles isn’t enough.
A look at how the media reported Katherine Soper’s Bruntwood Prize win.