“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.
Rosemary Waugh chats to Jess Latowicki, one half of Made in China, about how their new show Super Duper Close Up draws inspiration from anxiety, feminism – and skincare.
A new British Council project will support UK bloggers to discover and write about international work.
We dreamed a dream: Exeunt’s writers imagine a takeover of London’s creakiest, most storied theatres.
A mushrooming community: Ava Wong Davies writes on the intimacy and kindness of the works at this year’s instalment of performance art fest SPILL.
Earlier this year, Croydon’s biannual performance art festival became the centre of a firestorm of right-wing media hostility. Here, its artistic director Thomas John Bacon writes on what sparked the flames.
Newcastle-based theatre company The Six Twenty want your stories of music fandom.
Following the announcement that the NT’s Travelex sponsorship is coming to an end, Fergus Morgan writes on the trouble with cheap ticket schemes.
Audience experience researcher Dr Kirsty Sedgman writes on why ideas of ‘quality’ and ‘value’ in theatre are all but impossible to measure.
As social media takes a starring role in 21st century theatre marketing, Alice Saville writes on the power and pitfalls of Twitter-era criticism.
Director Ailin Conant and playwright Dipika Guha are working on new play ‘The Art of Gaman’. Here, they discuss ideas of belonging, immigrant experience and Japanese-American history.
Swiss theatre director Milo Rau’s working methods let members of the public into the rehearsal room. Here, he tells Verity Healey why “community theatre IS theatre”.
A year on from #MeToo, Alice Saville looks at the theatre industry’s response – and argues it’s far from time to move on.
Maddy Costa conducts an email dialogue with Annie Siddons about her new show Dennis of Penge, a triumphant narrative of addiction, recovery, and fighting the PIP system.
Working class people are hugely underrepresented in theatre at all levels. Adam Hughes argues that it’s time for the industry to dig deeper.