David Crystal explains how Shakespeare really spoke, and how ‘Original Pronunciation’ can help us better understand his plays.
Not quite intoxicating: David Ralf reviews Joe DiPietro and David Bryan’s take on the 1984 cult classic.
The director of Coney’s new show Remote at Camden People’s Theatre on choice, consensus and control.
Matthew Parker on The Hope, Lovesong of the Electric Bear, and his upcoming season of three in-house shows.
I may go crazy / Before that mansion on the hill: David Ralf reviews Vicky Featherstone’s second play to open in one week.
Jennifer Tucket on the new UK-wide mentoring programme University Women in the Arts from Central Saint Martins.
“Made Visible self-destructs, cogently arguing for a debate and making dramatic gestures towards opening that debate up to other voices, but Pearson ultimately refuses to relinquish control of the piece.”
The Proud Archivist has announced their first Writer in Residence, Sarah Kosar, and the world premiere of her new play Mumburger.
“The ordinary made otherworldly, and therefore the otherworldly brought closer to home.”
A video game critic and a theatre critic discuss a recent game jam between devising theatre makers, pervasive game designers, and computer game developers.
David Ralf reviews one of the most unashamedly silly things on offer at Vaults 2016.
A Sci-fi performance that hits on an interesting conversation, but at times is “comic-book multiverse unbelievable”.
“Apocalyptic rock’n’roll cabaret which earns its self-styling as ‘gig-theatre’.”
The director of new devised show Rounds talks about bringing junior doctors into the rehearsal room and telling their stories.
“The upper-class ease with which the jacketed Napoleon saunters, whip in hand, reminded me of nothing so much as the PM in his natural habitat.” David Ralf reviews Nelson Bond’s adaptation of Orwell.