As Roundelay opens at the Southwark Playhouse, playwright Sonja Linden talks to Rosemary Waugh about why sex and relationships involving older people are rarely discussed.
Scottee’s new show Bravado is an unsparing look at his relationship with masculinity. Here, he looks at confessional performance, self care, and asks “Must all working class artists bleed for their supper?”
A New York Times review sparked fury for critiquing Mark Twain’s racial politics. Here, Nicole Serratore steps into the critical dispute over Big River and representation in theatre.
As cinema, TV broadcasts and online streaming offer more and more ways to watch performance, Alice Saville asks why the theatre world is so slow to embrace the potential of film.
Busty Beatz, MD of Hot Brown Honey, is on residency at Wellcome Collection as part of The Sick Of The Fringe. She talks to Maddy Costa about making the personal political, and confronting Wellcome’s colonialism.
“Olivier, Hall, and Nunn had it easy. Norris has it all to do.” As Rufus Norris comes under attack, Fergus Morgan explores the troublesome business of theatre and nation building.
The novelist and critic John Berger died at the beginning of this year. Here, Richard Turney explores his work’s “porous and fertile border” with the theatre world, and his influence on Chris Goode and Simon McBurney.
“At any other time it would have been enough to just roll one’s eyes and move on. Not anymore.” Dramaturg and academic Duška Radosavljević responds to David Hare’s tirade against European-influenced director’s theatre.
After two decades of writing about performance, Maddy Costa is taking a frightening leap into writing for the stage. She explains why Crew For Calais’s work inspired her to tell the stories of last year’s chaotic refugee camp clearances.
Playwright and passionate Doctor Who fan Tim Foley argues that it’s time that sci-fi in theatre came of age, ahead of his post-Brexit dystopia Astronauts of Hartlepool.
Josh Coates and Emma Geraghty of Powder Keg talk to James Varney about Morale is High (Since We Gave Up Hope) and making theatre at a time of political uncertainty.
Jo Clifford’s ecstatic show ‘Jesus, Queen of Heaven’ brought together christian imagery and trans politics. Here, she writes about the transformative ideas she discovered while translating ‘The House of Bernarda Alba’ for Manchester Royal Exchange and Graeae.
As US/Them opens at the National Theatre, writer and director Carly Wijs talks to Rosemary Waugh about sex, censorship and making theatre for children.
Vault Festival opens this week. Here’s Vault director Tim Wilson on why this year’s shows are looking to the future, with a dedicated strand of space-themed work.
Steakhouse Live’s Longer, Wetter, Faster, Better is a festival of new radical and queer performance art. As part of a pilot writing project organised by academics Bojana Jankovic and Diana Damian Martin, three writers reflect on the ideas raised by the anarchy, glitter and politics of its performances.