Why Glee is good for theatre.
On the cinematic tendencies of opera and vice versa.
A poet’s apologetic journey into immersive theatre.
On sex, climate, and feeling contemporary.
In stripped-down Scottish Play, this Brit feels at home.
Theatre for an audience of one.
On directing Tennessee Williams.
On audience choice and writing away from herself.
Art and the city.
A play’s language may be a pleasure hear, but it is also a pleasure to say.
The UK’s first Professor of Playwriting opens the dramatist’s toolbox.
Aliki reflects on the production, the community, and “why we’re going to win”.
This richly visual book explores Handspring’s brand of puppetry.
The boys are also the girls in Propeller.
The producer’s role takes a 21st century turn, and actors drop like flies.