Figs in Wigs’ Rachel Porter talks about the underacknowledged awkwardness of selling theatre – especially when it’s on the weirder end of the spectrum.
Ahead of CPT’s Handle With Care Festival, Kaya Stanley-Money writes on how venues are approaching the heated conversation around trigger warnings.
Dive into the unknown: Ben Kulvichit live blogs his journey through 2019’s Fierce Festival.
Sorry not sorry: Alice Saville writes on a spate of female playwrights who are breaking form and pulling back the curtain on gendered power structures.
“I am considered a debate topic, and I have learned not to flinch”: Jess Rahman-González and Oli Isaac discuss the emotional impact of the backlash against the Old Vic’s trans inclusive toilets.
A guide to October’s chaotic flurry of performance, dance, and theatre.
As they bring their trilogy to BAC, the theatremaking duo talk international politics, conflict, and breaking up.
Natasha Tripney finds destruction, renewal, and numbing violence at Belgrade’s festival of avant garde theatre from across Europe.
Researcher and critic Lisa Moravec explores ideas of bodily dressage in Peter Stamer’s and Frank Willens’s In the Penal Colony and Willen’s group dance Radiant Optimism.
Alice Saville writes on 1809’s Old Price Riots, and what they can teach commercial theatre producers over two centuries later.
“To react and respond is just human”: Maddy Costa writes on how audiences are silenced, and the complex history of ideas of ‘civilised’ behaviour.
In this interview with Ben Kulvichit, the writer-director duo discuss their show Wild Swimming, symbiosis, and why emerging artists need to make mistakes.
Ravi Ghosh writes on Rob Icke’s dive into minority identity, and why audiences need to be pushed towards self-examination, not self-congratulation.
Theatre director Adam Lenson writes on the Falsettos casting controversy, and why the Jewish community needs to be involved in telling its own stories.
Francesca Peschier writes on the shows bringing ecstatic moments and authentic queer people of colour’s experiences to the Edinburgh fringe.