It’s snowing. Again. But here are some shows our writers think it’s well worth venturing outside for.
A collective of 12 women are challenging Nottingham’s art scene to change, with a brand new festival of female-led work.
Some thoughts on work and exploitation, following Mark Shenton’s statement that he’ll no longer go to shows made by unpaid creatives.
Performance artist Ultimate Dancer makes work that mingles choreography and spirituality. Here, she talks healing rituals, movement, and the power of darkness.
“Brexit has sent a subconscious ‘exodus call’.” – European company Little Soldier talk leaving, uncertainty and the impact of the ‘yes’ vote.
The author of ‘Frozen’ and a new adaptation of ‘Brighton Rock’ talks female anger, reimagining romantic fiction, and the banality of murder.
Fergus Morgan interviews the enigmatic West End director about star casting, commercial theatre, and the post-Weinstein landscape.
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.
In the last of three articles, Maddy Costa explores how The Place involved dance fans in developing new work, and their conflicting expectations of the process.
Alice Saville writes on how theatre offers a way to put the past in dialogue with the present.
In the second of a trio of articles, Maddy Costa explores the difficulty of seeding new relationships between choreographers and producers.
The artistic director of Cardboard Citizens talks theatre and oppression, in response to Nathan Lucky Wood’s piece ‘The Trouble With Outreach’.
In the first of a trio of articles, Maddy Costa explores The Place’s three-pronged artist, producer, and audience development scheme.