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?
Kate Wyver and her grandmother interview the experimental theatre duo Ridiculusmus, as they rehearse a new show about getting older and slowing down.
YouTubers and live artists alike are under pressure to share personal information about their lives. Claire Gaydon writes on the risks of making confessional work, and the need to find ways to protect yourself.
Exeunt writers talk about the shifting emotional landscape of their relationship with theatre, and explore what it’s like to fall in, and out, of love.
Maddy Costa writes on the community-building, conversation-starting power of Theatre Clubs, which make space for audiences to discuss the work they’ve seen.
Jen Malarkey and Lee Mattinson make surreal and unsettling performance together. Here, they talk about grief, working with kids, and their new show ‘The Kids Are Alright’.
“To make one homogenous show is, to me, increasingly nonsensical”: Rachel Bagshaw and Tamar Saphra talk about making work which actively includes disabled and non-disabled audiences.
As debates erupt over LGBT+ education in schools, Poppy Burton-Morgan writes on the power of family theatre to create new role models.