Lily Levinson writes on the seismic generational divides in Romania’s theatre scene, and the embattled political companies that are fighting for change.
Milli Bhatia and Jasmine Lee-Jones discuss ‘seven methods of killing kylie jenner’, confronting power structures, and bringing black Twitter to the stage.
Emma Frankland writes on her new show Hearty, and the shifting cycles which underpin attitudes to trans identity.
Prices for accommodation at the Edinburgh Fringe are up 35% this year. Here, independent producer Jo Mackie asks what it will take to reform the fringe.
“It’s a space built from light and mirrors and impossibilities”: Francesca Peschier takes you on a trip to Prague’s mind-blowing festival of scenography from around the world.
Alice Saville writes on theatre’s uneasy relationship with trigger warnings, and the faultlines they reveal.
Natasha Tripney marks the launch of the 2019 Edinburgh fringe programme with a poem, crafted from its cut up and reassembled entrails.
Rebekah Murrell is directing J’Ouvert, a tale of carnival culture at Theatre503. Here, she talks unconventional career paths, ticket prices, and the renaissance in Black theatre.
Andy Edwards writes on four encounters with Glasgow’s Take Me Somewhere, an annual festival of live performance.
Writer Sarah Kosar and director Sara Joyce talk about narratives of victimhood, female agency, and their new show Armadillo.
After building a free DIY film school, Forest Fringe are making a movie this summer. Here’s Andy Field on why.
“We’re not asking the audience not to see the colour of their skin – we are specifically asking them to look at it” – Miranda Cromwell, Marianne Elliott and Wendell Pierce discuss the impact of casting black actors in Miller’s play.
Playwright Anchuli Felicia King’s grimly comic satire of the Singapore skin-lightening industry opens at the Royal Court this week. In this interview, she discusses Mamet, Crazy Rich Asians, and late-stage capitalism.
James Varney writes on live art festival Transform, and explores how its line-up intertwines with the Leeds streets that surround it.
Immersive shows like Barzakh push their audiences to extremes. But can you really consent to an experience you know nothing about?