As ‘The Believers Are But Brothers’ opens at Bush Theatre, its creator talks radicalisation, Prevent and making work outside London.
Ahead of her show ‘So Many Reasons’ at feminist festival Calm Down Dear, the writer and performer talks mother-daughter relationships, bypassing gatekeepers, and how to ‘jolt’ an audience.
Hannah Greenstreet sits in on rehearsals for Forward Arena’s queer, time-hopping epic.
Tamara Harvey is artistic director at Theatr Clwyd, which combines a formidable artistic reputation with a location in rural Wales. She talks Chekhovian humour, working with dead authors, and why theatre and ice rinks mix.
The new artistic director of The Gate talks about running a theatre, looking to Europe, and why a narrow discourse around diversity can be dangerous.
Rachel Bagshaw talks to Rosemary Waugh about creating The Shape of Pain, an Edinburgh Fringe show based on her experiences, and made in collaboration with Chris Thorpe.
After the runaway success of Iphigenia in Splott, Rachel O’Riordan is directing Gary Owen’s new play Killology. She talks about her work as artistic director of the Sherman, and how theatre “opens doors to Wales”.
As Roundelay opens at the Southwark Playhouse, playwright Sonja Linden talks to Rosemary Waugh about why sex and relationships involving older people are rarely discussed.
As US/Them opens at the National Theatre, writer and director Carly Wijs talks to Rosemary Waugh about sex, censorship and making theatre for children.
Maddy Costa talks to Xavier de Sousa about migration, being a host and his new show POST at the Ovalhouse.
Lucy Bell talks to Rosemary Waugh about teenage dads, making documentaries and her latest play, Pulling Out, at the Camden People’s Theatre.
RÃ³isÃn McBrinn, head of the artistic programme at Clean Break, talks to Rosemary Waugh about government cuts, vulnerable women and their latest production at The Yard in Hackney.
Karen Glossop and Paul Murray have created a 15-minute micro play that explores bipolar – on a bicycle. Here, they explore how you can make work about mental health that’s simple, without being simplistic.
The director of Coney’s new show Remote at Camden People’s Theatre on choice, consensus and control.
Christopher Brett Bailey, the punk-haired mastermind behind â€˜THIS IS HOW WE DIEâ€™, reflects on his desire to overwhelm both audience and performer.