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.
Kaite O’Reilly writes on cripping up, and how her new production offers a witty, feminist, alternative disability perspective on Shakespeare’s history play.
Poppy Burton-Morgan explores how female-led circus companies are dismantling and reimagining gender on stage.
Ahead of her show ‘The Year of the Rooster Monk’ at Vault Festival, Giselle LeBleu writes on resurrecting pre-digital ghosts and channeling dark forces.
The artistic director of Cardboard Citizens talks theatre and oppression, in response to Nathan Lucky Wood’s piece ‘The Trouble With Outreach’.
Playwright and youth worker Nathan Lucky Wood asks why work being made with ‘hard-to-reach’ groups is so closely focused around their most difficult experiences
Alice Saville explores why it’s time to stop talking about ‘theatre etiquette’, and to start thinking about the behaviour of all sections of the audience.
“Hard-to-reach audiences are not hard to reach if you speak their language” – Ifeyinwa Frederick argues for a new direction for theatre.
Slow criticism: Diana Damian and Anette Therese Pettersen consider a meditative seaside performance created by Norwegian artist Ingri Fiksdal.