Francesca Peschier interviews the duo behind Bechdel Theatre about industry inequality, representation, and sexy, sexy data.
Playwright Rabiah Hussain writes on why it’s time theatres did more to reach out from young people from working class and minority backgrounds.
Alice Saville writes on Kiss Me Kate, and her complex relationship with musical theatre’s problematic back catalogue.
Incoming is Incoming! More on the mini-festival of bargainous work by emerging artists, plus plenty of other shows not to miss this fortnight.
Nicole Acquah interviews the legendary verbatim theatremaker and creator of ‘Notes from the Field’, now on at the Royal Court.
In an annual Exeunt tradition, Natasha Tripney condenses the contents of the entire 2018 Edinburgh Fringe programme into a single poem.
Fringe season is upon us, so Tracey Sinclair has canvassed theatre critics to compile this guide to how shows can maximise their chances of getting reviewed.
As the theatre calendar goes into overdrive, Alice Saville writes on the time-and-space challenges of trying, and failing, to see everything.
“This piece has journeys in it”: Eve Leigh writes on the reverberating magic of Verity Standen’s surround sound choral performance.
Gob Squad, Translations, and Maxine Peake inside a giant revolving mudheap: here are the shows you wouldn’t want to miss over the next fortnight.
“The scale, despite the ramshackle surroundings, is huge.” – Andrew Edwards writes on the joys of Leith’s eclectic multi-disciplinary arts festival.
Naomi Obeng encounters transformation, an intergalactic mission, bingo, and tons of exciting new performance at Cambridge Junction’s one day fest.
As Karen Finley’s new show ‘Unicorn Gratitude Mystery’ comes to Femmetopia, she talks to the queer festival’s co-curator about American politics, princesses, and activist art.
The New Diorama Theatre is revolutionising the way it’s programmed. Here’s the venue’s AD David Byrne on why he’s putting companies first.
In the aftermath of the announcement that Lyn Gardner’s Guardian contract is coming to an end, Maddy Costa writes on theatre world hierarchies and their resistance to change.