Gecko’s Amit Lahav writes on his relationship with the late, visionary choreographer, who created “an alternative version of the world, every second of the day, on and off stage”.
Andy Field writes on sleep-deprivation at the Edinburgh fringe, and the challenges of making new spaces in a world where time is commodified.
Playwright Rabiah Hussain writes on why it’s time theatres did more to reach out from young people from working class and minority backgrounds.
Alice Saville writes on Kiss Me Kate, and her complex relationship with musical theatre’s problematic back catalogue.
As the theatre calendar goes into overdrive, Alice Saville writes on the time-and-space challenges of trying, and failing, to see everything.
The New Diorama Theatre is revolutionising the way it’s programmed. Here’s the venue’s AD David Byrne on why he’s putting companies first.
In response to Hannah Khalil’s blog post, Naomi Joseph explores how theatremakers manage multiple careers.
Following the announcement that Lyn Gardner’s position as Guardian theatre critic is being cut, Andy Field writes on why her role is too important to be lost.
Andy Field writes on how encounters with the natural world inspired a new night-time performance, on as part of LIFT Festival 2018.
In Shakespeare’s birthday week, Hailey Bachrach argues that there’s nothing dull about recent reinventions of his work.
A desperate need for dialogue: Katherina Radeva writes on why she’s organising a day of ideas-sharing around questions of otherness and identity.
Tara Fatehi Irani writes on her year-long project, making 365 performance-installations which shared micro-histories from her family archive from Tehran.
Naomi Obeng reports back from National Student Drama Festival’s collective conversations on how to make spaces fairer, more accessible, and more representative.
Five years ago, playwright Eve Leigh made a decision not to watch plays, movies and TV shows that involved violence against female bodies. She unravels her thoughts, in list form.
Frey Kwa Hawking explores the slippery territory of defining a dramaturg’s role, and forging a practice in a world that requires both productions and people to be marketable.