Rebecca Atkinson-Lord talks to artistic directors about the idea of legacy and leaving a permanent mark in the ephemeral world of theatre. In this episode, Rebecca speaks to John McGrath, artistic director of the Manchester International Festival, about networks, ethics and nationality.
Pixie Lott and a live cat are the only highlights to an otherwise dull adaptation of Capote’s novel, reviewed by Tim Bano.
Tim Bano offers a spoiler-free exploration of Harry Potter And The Cursed Child – and its power to “chip away just a little at the thick armour of cynicism it’s so easy to develop”.
Drows’d with the fume of poppies: Tim Bano reviews Robert LePage’s interweaving narratives of Miles Davis and Jean Cocteau.
Rebecca Atkinson-Lord talks to Rachel Tackley, director of English Touring Theatre, about legacy.
Tim Bano’s Inner Child reviews Aladdin at the Prince Edward Theatre.
Tim Bano’s Inner Critic reviews Aladdin at the Prince Edward Theatre.
Cracking the egg: Tim Bano’s long-form review of Carrie Cracknell’s production of Terence Rattigan’s classic.
Tim Bano reviews the visually beautiful adaptation of Michael Morpurgo in Regent’s Park, but finds the storytelling rushed.
The first in a series of interviews with artistic directors about the idea of legacy and leaving something behind in the ephemeral world of theatre.
An infected review of Shannon Yee’s binaural show, charting her recovery from a rare brain infection.
Brains Vs Minds: Tim Bano reviews Nick Payne’s newest work at the Donmar Warehouse.
This transmission was found on a discarded USB stick outside the Royal Court Theatre in Sloane Square. Its datestamp is 04.05.2066. It appears to document the system failure of a small space shuttle headed for Pluto and the deranged ramblings of the shuttle’s pilot Major Tim Bano. The USB stick’s provenance is unknown. Solve for X.
Updating the Shakespearian operating system: Tim Bano reviews Ivo van Hove’s reprogramming of Shakespeare.
The author of Clybourne Park talks to Kate Wyver about race, gentrification, and the power of theatre to take the piss out of privilege.