Diana Damian Martin writes on how Porto’s international theatre festival FITEI explores ideas of community, memory, and the past.
Laura Kressly writes about her fortnight at the Eugene O’Neill Theater Center’s development programme for critics.
Jackie Montague explores what three performances at Latitude say about how we relate to our heroes, our homes, and our own identities.
“Rater encore. Rater mieux”. Ella Parry-Davies explores how performances at 2017’s Avignon Festival make bold attempts to navigate contemporary politics.
Tea House Theatre sparked a Twitter storm after its job listing went viral. Here’s Lauren Mooney on its unpalatable message about undervalued, often female labour in the arts.
Bad sex, jiggly bits, and twenty-something omnishambles: Rosemary Waugh and Gillian Greer conduct an email chat about Touch and young women’s sexuality on stage.
Bridget Minamore interviews the genre-defying troupe of Australian women of colour.
Part of MIF, Theatre-Rites’s new family show uses a cast that includes refugees to explore being different. Aniqah Choudhri speaks to Sue Buckmaster about the complexity behind its storytelling.
As LGBT Pride approaches, Alice Saville asks why London’s glut of queer theatre is looking to the past, not the future.
“I am still grappling with finding a work so dispiriting when it’s been so widely loved” – Salome Wagaine on Branden Jacobs-Jenkins’ reimagining of a historical slave narrative.
A first look at Exeunt’s second zine, Rites of Spring, plus info on how to get a copy.
How can theatre accommodate neurodiversity? Maddy Costa explores how Art with Heart’s touring show ‘Declaration’ remagines relationships between artist, venue and audience.
The RSC are accepting BP sponsorship – while staging a play about the disastrous impact of climate change. Here’s Jess Worth on the campaign to make the RSC Fossil Free.
Following Forest Fringe’s announcement that they will no longer be running their free Edinburgh Fringe venue, Alice Saville remembers the invaluable spaces they created.
Amy Draper’s ‘These Trees are Made of Blood’ took years to move from initial seed of an idea to a full production. Here, she writes on why ideas need time to germinate.