Alice Saville writes on how coronavirus offers theatre an opportunity to rethink what ‘being in a room together’ really means.
Jason Crouch walks you through some of the potential issues and shining opportunities involved in streaming performances.
An evolving collection of advice, resources and opportunities for people who work in theatre and are affected by coronavirus.
After cis actors were cast in trans roles in ‘Breakfast on Pluto’ and ‘Bring it On’, Robin Craig asks why theatres keep failing queer audiences.
Hailey Bachrach spots a trend: female characters breaking the fourth wall to rail against their limited options.
With both ‘Far Away’ and ‘A Number’ on in London, now’s your moment to develop a Caryl Churchill obsession. Alice Saville writes on two plays that are designed to mesmerise.
Naomi Obeng assembles a group of artists, critics and academics to respond to Yolanda Bonnell’s request, and the Guardian article that followed.
The Claim is a Kafka-esque dive into the UK’s asylum system. Here, its creators talk bureaucracy, funding, and making political theatre without the capital ‘P’.
Playwrights Nkenna Akunna and Temi Wilkey catch up, and talk ‘The High Table’, internalised homophobia, and what it’s like to want a play that’s made for you.
Bella Todd writes on why artists with learning disabilities are ready for critical engagement: it’s time for critics to catch up.
Tasmania’s triumphantly weird arts festival lures in audiences with magic, sweat and glitter.
As plans are taking shape for 2022’s £120m post-Brexit arts extravaganza, here are some more outward-looking ways to mark Britain’s exit from the EU.
Josh Coates is curating performance nights that bring fandom offline and onto the stage. Here’s why.
Exeunt sends its writers to the dawn of the 2030s to survey a tumultuous decade in theatre.
Leaves you feeling Peaky: Natasha Tripney dissects Peaky Blinders creator Steven Knight’s misjudged Dickens adaptation for the BBC.