Maddy Costa talks to Xavier de Sousa about migration, being a host and his new show POST at the Ovalhouse.
Lucy Bell talks to Rosemary Waugh about teenage dads, making documentaries and her latest play, Pulling Out, at the Camden People’s Theatre.
Róisín McBrinn, head of the artistic programme at Clean Break, talks to Rosemary Waugh about government cuts, vulnerable women and their latest production at The Yard in Hackney.
Karen Glossop and Paul Murray have created a 15-minute micro play that explores bipolar – on a bicycle. Here, they explore how you can make work about mental health that’s simple, without being simplistic.
The director of Coney’s new show Remote at Camden People’s Theatre on choice, consensus and control.
Christopher Brett Bailey, the punk-haired mastermind behind ‘THIS IS HOW WE DIE’, reflects on his desire to overwhelm both audience and performer.
Matthew Parker on The Hope, Lovesong of the Electric Bear, and his upcoming season of three in-house shows.
Mary Halton talks to Alistair McDowall about upcoming play X at the Royal Court, Pluto, remoteness and Pomona.
Richard Patterson talks to New York Post columnist Michael Riedel about his first book, Razzle Dazzle.
The Proud Archivist has announced their first Writer in Residence, Sarah Kosar, and the world premiere of her new play Mumburger.
“We’ve tried to appeal to a number of specific audiences: queer, theatrical ‘insiders’ and cabaret lovers”. Simon Arrowsmith and John Myatt from Broken Cabaret talk about their new musical Something Something Lazarus, and about the web of transmedia storytelling they’ve spun around it.
Tom Wicker speaks to The Last Kingdom actor about found spaces, language, and co-starring with Andrew Scott in The Dazzle.
Director Sam Yates on the political dimension of Shakespeare’s late plays and making his debut in the Sam Wanamaker Playhouse.
Sara Pascoe talks to Andrew Youngson about bringing her Christmas Assembly to the Battersea Arts Centre and why Christmas time is crap for comedians.
David Wood on adapting Roald Dahl for the stage, talking tigers, and the lack of critical engagement with children’s theatre.