Directors, dramaturgs and critics discuss how the European repertory model empowers actors and influences the work that gets made.
Leaves you feeling Peaky: Natasha Tripney dissects Peaky Blinders creator Steven Knight’s misjudged Dickens adaptation for the BBC.
Natasha Tripney finds destruction, renewal, and numbing violence at Belgrade’s festival of avant garde theatre from across Europe.
Natasha Tripney marks the launch of the 2019 Edinburgh fringe programme with a poem, crafted from its cut up and reassembled entrails.
Natasha Tripney writes on the time-bending, memory-layering properties of returning to Edinburgh for the festival fringe, year after year.
In an annual Exeunt tradition, Natasha Tripney condenses the contents of the entire 2018 Edinburgh Fringe programme into a single poem.
“Who is torturing whom?” Natasha Tripney crafts a cut-up poem from the fever dream that is the 2017 Edinburgh Fringe programme.
“Appealing pyromaniac tendencies” – Natasha Tripney reviews Gorčin Stojanović’s production of Don Juan.
The snickety-snick of the sewing machine: Natasha Tripney reviews Žiga Divjak’s bleak but impressive production at the Mladinsko theatre.
The watchers and the watched: Natasha Tripney reviews Ant Hampton’s work presented as part of Malta Festival.
Don’t be fooled by gimp owl: the Edinburgh Fringe has a sensitive side. Natasha Tripney offers a cut-up poem plucked from the pages of the Edinburgh Fringe Programme.
Natasha Tripney on fan-service, feminism and the Sherlock Christmas special
Jules Verne and the shrinking world.
Jon Bradfield discusses representation, rude songs, and the validity of pantomime as an artform.
Fiona Doyle on the situation still faced by female playwrights in Ireland and how gender inequality within Irish Theatre is symptomatic of something much deeper.