I'm ready to work: Hannah Greenstreet responds to a frenzied, feminist reimagining of Chekhov with a letter to its creators, RashDash.
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A beautiful game: Improbable's devised show mixes football and feminism, in a tribute to the power of teamwork.
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.
New Rashdash, Sleepwalk Collective, Scottee, and so many more shows you wouldn't want to miss over the next fortnight.
Katie Hawthorne evokes the shows, controversies, and nerdy theatre in-jokes of Berlin's annual theatre festival.
In response to Hannah Khalil's blog post, Naomi Joseph explores how theatremakers manage multiple careers.
An expression of thanks: choreographer Oona Doherty crafts a religious reflection on her home town.
'This is a show, and we are living through it together': Brendan Macdonald reviews Split Britches's Kubrick-inspired performance.
Shakespeare's stories: Rosemary Waugh reviews the first productions by the new Globe Ensemble.
A new zine that's all about sex, nudity and bodies in theatre, available exclusively to members of our Friends Scheme.
Following the announcement that Lyn Gardner's position as Guardian theatre critic is being cut, Andy Field writes on why her role is too important to be lost.
Alice Saville considers questions of reputation and legacy in an industry that’s in love with its own history.
Andy Field writes on how encounters with the natural world inspired a new night-time performance, on as part of LIFT Festival 2018.