Rosemary Waugh interviews the co-artistic director of Manchester’s Royal Exchange Theatre about her tumultuous first year in the job.
Low-growling discord: Rosemary Waugh reviews a tense 60th anniversary revival of Harold Pinter’s play.
Traverse Theatre’s incoming co-artistic director Debbie Hannan talks class, the fringe, and rethinking theatre’s power structures.
Star Players: Rosemary Waugh writes on a site-specific show celebrating the ‘mud-splattered-flood-lit revolution’ that is women’s football.
Friendly overtures: Rosemary Waugh writes on her confidence-boosting one-to-one therapy session from an opera singer.
The Claim is a Kafka-esque dive into the UK’s asylum system. Here, its creators talk bureaucracy, funding, and making political theatre without the capital ‘P’.
Elegantly wasted: Rosemary Waugh writes on Tony Kushner’s elaborate, infuriating rewrite of Friedrich Dürrenmatt’s play.
“We’re good people right?” – Rosemary Waugh writes on the normal people of Duncan Macmillan’s climate change play.
Unreliable narratives: Rosemary Waugh writes on Lucy Prebble’s metatheatrical story of Litvinenko’s poisoning.
Freaky fairground mirrors: Rosemary Waugh writes on a playful take on Ben Jonson’s challenging play.
“This hyper-awareness of impending death”: Rosemary Waugh writes on Kally Lloyd-Jones’ dance piece about mortality.
Awkward notes: Rosemary Waugh writes on Pat Kinevane’s musical meander through the life of a man who’s lost custody of his daughter.
Rosemary Waugh writes on a cliché-resistant narrative of an Indigenous woman’s revenge.
Rosemary Waugh reviews Tim Cowbury’s performance in the form of an awkward convo in Summerhall courtyard.
Power crazy: Rosemary Waugh writes on how Korean company Cho-in theatre turn Macbeth into a fierce metaphor for ambition.