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Paul Vale

Paul has been writing for The Stage since 1998 as a critic and feature writer. He is also part of The Stage's Edinburgh Fringe review team.

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2010 in review: Fringe theatre

2011 in Review: Fringe

A Shrek around the world

Without swift action it won’t just be Cinderella facing Closure Day

People are more important than art. Theatre must do more to protect them

What’s the secret to a great adaptation? Focus on form as well as content

Where is theatre’s promised insurance scheme?

The rules may be relaxing, but that doesn’t mean all theatre audiences are

‘Freedom’ for the fit, worry for disabled audiences – is this what theatre wants?

People are more important than art. Theatre must do more to protect them

How can we support freelancers? Give them salaries and a seat at the table

Theatre has become a money-making machine. We have a chance to change

I love theatre, but not its damaging long-hours culture – it’s no way to live

Covid passports are on their way, but will there be any theatre left to watch?

From Angela Lansbury’s Auntie Mame to Constellations of stars, casting is key

Paul Vale

Paul has been writing for The Stage since 1998 as a critic and feature writer. He is also part of The Stage's Edinburgh Fringe review team.

More from this author

The Stage/Italia Conti scholarship winner 2021

The Stage/Cygnet Theatre scholarship winner 2021

Win free training at Razzamataz with The Stage Scholarships

Opinion

Latest
Most Read

Without swift action it won’t just be Cinderella facing Closure Day

People are more important than art. Theatre must do more to protect them

What’s the secret to a great adaptation? Focus on form as well as content

Where is theatre’s promised insurance scheme?

The rules may be relaxing, but that doesn’t mean all theatre audiences are

‘Freedom’ for the fit, worry for disabled audiences – is this what theatre wants?

People are more important than art. Theatre must do more to protect them

The rules may be relaxing, but that doesn’t mean all theatre audiences are

What’s the secret to a great adaptation? Focus on form as well as content

Without swift action it won’t just be Cinderella facing Closure Day

Theatre has become a money-making machine. We have a chance to change

Where is theatre’s promised insurance scheme?

Advice

Amanda Stuart Fisher: 'We need to think about global challenges and theatre’s role in meeting them'

by John Byrne

Kaysha Woollery: 'My first job came during the first lockdown. It was a godsend'

by John Byrne

Sterre Maier: 'You never know where one job may lead'

by John Byrne

Lottie Walker: 'I wouldn’t be doing my current show without my first job'

by John Byrne

Exclusive: Rebecca Kane Burton leaves LW Theatres after five years

Kane Burton’s departure comes after LW Theatres unveiled the new Theatre Royal Drury Lane, which has been restored as part of a £60 million project

Exclusive: Rebecca Kane Burton leaves LW Theatres after five years

Kane Burton’s departure comes after LW Theatres unveiled the new Theatre Royal Drury Lane, which has been restored as part of a £60 million project

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