Emma Frankland writes on her new show Hearty, and the shifting cycles which underpin attitudes to trans identity.
Alice Saville writes on theatre’s uneasy relationship with trigger warnings, and the faultlines they reveal.
After #hotgate, Dr Kirsty Sedgman writes on the complex territory of gender and objectification in theatre, and why it’s time for “a more radical, ethical kind of thirst”.
For every play that makes it to the stage, there are many more languishing under commission. Duncan Gates makes a case for more transparency in new writing for theatre.
Dr Diana Damian Martin and Dr Margherita Laera introduce their new research project, a survey which will explore who writes about theatre and performance, and map the conditions they work under.
“This is a play about race matters by a writer for whom race matters not” – Desirée Baptiste’s essay unpicks the racist and ableist themes of Martin McDonagh’s play.
As social media takes a starring role in 21st century theatre marketing, Alice Saville writes on the power and pitfalls of Twitter-era criticism.
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.