Finding their voices: Annegret MÃ¤rten writes on BAC Beatbox Academy’s joyful reimagining of Mary Shelley’s novel.
Signs of the times: Annegret MÃ¤rten and Emilie OlÃ©ron Evans give a tutorial on Matthew Parker’s production of Ionesco’s absurdist play
Annegret Marten argues that it’s time for the theatre industry to shift its attitude to environmental reform.
Take the quiz! Annegret Marten reviews People Show’s new work about fake news and unreality.
“What a difference a year makes”: Annegret Marten writes on Middle Child’s gig theatre show as it returns to Edinburgh.
How to be a fox: Annegret MÃ¤rten takes a nighttime walk as part of LIFT 2018.
Three EU migrants discuss their experiences at a ‘non-Brexit-fearing festival’ of work from Europe.
Simeon loves Marcia loves Konstantin loves Nina loves Boris loves Irina loves herself: Annegret Marten reviews Simon Stephens’ new version of Chekhov.
I, You, They, We: Annegret Marten responds to Ponyboy’s fcksystms at NOW 16.
Filter Theatre serve up “a likeable and knowing custard pie of a show”.
â€œWeâ€™ve tried to appeal to a number of specific audiences: queer, theatrical â€˜insidersâ€™ and cabaret loversâ€. Simon Arrowsmith and John Myatt from Broken Cabaret talk about their new musical Something Something Lazarus, and about the web of transmedia storytelling they’ve spun around it.
Al Seed “spits out the human after the promise of glorious war” in a show about PTSD, as part of the London International Mime Festival.
A laughing matter.
A muddy melange.
The workings of a dramaturgical engine.