The Stage

Cynthia Erivo in Dracula at the Noël Coward Theatre – review round-up

The Barbican could learn a lesson or two from the Royal Exchange

Titanique adds interval for West End run

We must decolonise actor training to keep it relevant

The Barbican could learn a lesson or two from the Royal Exchange

Theatre tech companies should be run by experts, not venture capitalists

Pregnant performers can tour – and we should be supporting them to do so

Why are we so shy about revealing the true cost of theatre?

Multilingualism on stage has a potent effect

Commemorating the greatest musical flop 30 years on

We need to address the risks of using amplification in theatres

What does Ted Stimpson’s exit say about ATG?

Why are we so shy about revealing the true cost of theatre?

Anti-political playwriting competition serves as a warning

Immersive theatre: 12 legal factors to consider

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We must decolonise actor training to keep it relevant

Cynthia Erivo in Dracula at the Noël Coward Theatre – review round-up

The Barbican could learn a lesson or two from the Royal Exchange

Titanique adds interval for West End run

John Byrne

John Byrne is careers adviser for The Stage and is also a writer, cartoonist, performer and broadcaster. He is a member of the advisory board of the Association of Acting Coaches and Educators.

More from this author

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Opinion

Latest
Most Read

We must decolonise actor training to keep it relevant

The Barbican could learn a lesson or two from the Royal Exchange

Theatre tech companies should be run by experts, not venture capitalists

Pregnant performers can tour – and we should be supporting them to do so

Why are we so shy about revealing the true cost of theatre?

Multilingualism on stage has a potent effect

Why are we so shy about revealing the true cost of theatre?

What does Ted Stimpson’s exit say about ATG?

The Barbican could learn a lesson or two from the Royal Exchange

Pregnant performers can tour – and we should be supporting them to do so

Theatre tech companies should be run by experts, not venture capitalists

We must decolonise actor training to keep it relevant

Advice

Rayxia Ojo: ‘You never really know when you’ve left a lasting impression on someone’

Lucy Fennell: ‘It’s a lifelong quest to understand and stay in touch with who you are’

Pat O’Toole: ‘Building a toolkit to support your mental fitness is crucial’

Haydn O’Reilly: ‘I hounded a theatre company relentlessly until I got an audition’

Production Assistant - Live ...

The Boy Who Harnessed the Wind review

Musical adaptation of a remarkable true story is uneven, but made up of powerful components

Titanique adds interval for West End run

Titanique is to introduce an interval for West End audiences from early March

Latest Issue

The Stage Magazine - February 2026

The Stage Interview Lynette Linton - A new direction
The Long Read Dr Theatre: the arts & health
Feature Wrestling slams into the spotlight
Archive The Royal Court origin story
Stage Directions Musical theatre's Jamie Muscato

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We must decolonise actor training to keep it relevant

Cynthia Erivo in Dracula at the Noël Coward Theatre – review round-up

The Barbican could learn a lesson or two from the Royal Exchange

Titanique adds interval for West End run

Advice

Rayxia Ojo: ‘You never really know when you’ve left a lasting impression on someone’

Lucy Fennell: ‘It’s a lifelong quest to understand and stay in touch with who you are’

Pat O’Toole: ‘Building a toolkit to support your mental fitness is crucial’

Haydn O’Reilly: ‘I hounded a theatre company relentlessly until I got an audition’

Recommended for you

We must decolonise actor training to keep it relevant

Cynthia Erivo in Dracula at the Noël Coward Theatre – review round-up

The Barbican could learn a lesson or two from the Royal Exchange

Titanique adds interval for West End run