Alice Saville writes on 1809’s Old Price Riots, and what they can teach commercial theatre producers over two centuries later.
“To react and respond is just human”: Maddy Costa writes on how audiences are silenced, and the complex history of ideas of ‘civilised’ behaviour.
Ravi Ghosh writes on Rob Icke’s dive into minority identity, and why audiences need to be pushed towards self-examination, not self-congratulation.
Theatre director Adam Lenson writes on the Falsettos casting controversy, and why the Jewish community needs to be involved in telling its own stories.
Emma Frankland writes on her new show Hearty, and the shifting cycles which underpin attitudes to trans identity.
Alice Saville writes on theatre’s uneasy relationship with trigger warnings, and the faultlines they reveal.
After #hotgate, Dr Kirsty Sedgman writes on the complex territory of gender and objectification in theatre, and why it’s time for “a more radical, ethical kind of thirst”.
For every play that makes it to the stage, there are many more languishing under commission. Duncan Gates makes a case for more transparency in new writing for theatre.
Dr Diana Damian Martin and Dr Margherita Laera introduce their new research project, a survey which will explore who writes about theatre and performance, and map the conditions they work under.
“This is a play about race matters by a writer for whom race matters not” – DesirÃ©e Baptiste’s essay unpicks the racist and ableist themes of Martin McDonagh’s play.
As social media takes a starring role in 21st century theatre marketing, Alice Saville writes on the power and pitfalls of Twitter-era criticism.
Geckoâ€™s Amit Lahav writes on his relationship with the late, visionary choreographer, who created “an alternative version of the world, every second of the day, on and off stage”.
Andy Field writes on sleep-deprivation at the Edinburgh fringe, and the challenges of making new spaces in a world where time is commodified.
Playwright Rabiah Hussain writes on why it’s time theatres did more to reach out from young people from working class and minority backgrounds.
Alice Saville writes on Kiss Me Kate, and her complex relationship with musical theatre’s problematic back catalogue.