Opera

Technology has the potential to forge relationships with those who would never dream of seeing a live show, and form deeper ongoing relationships with those who saw it in a theatre

by David Benedict

Oscar Wilde’s plays survived everything – except turning them into opera

Setting Oscar Wilde’s perfectly timed prose to music is, to be fair, not easy, and very few have succeeded

The Green Room

The Green Room: What’s the funniest thing you’ve ever seen on stage?

From Noises Off to errant pigeons, our panel of theatre workers discuss shows – and onstage mishaps – that have made them laugh

VIEW ALL

We can learn from South Korea, where theatre has stayed open for business

by Richard Jordan

It’s time for English National Opera to embrace theatricality again

by David Benedict

Editor's View: Celebrating 140 years of The Stage by turning the spotlight outwards

by Alistair Smith

Annilese Miskimmon is a good choice to produce ‘bankers’ at ENO

by David Benedict

When it comes to representation, opera has some serious catching up to do

by Howard Sherman

Ignore the sensationalist headlines and have sensible conversations

by Kate Maltby

Staying dark is not the answer for all theatres – your views, June 4

by The Stage

Struggling venues still care for freelancers – your views, May 28

by The Stage

The Green Room

The Green Room: What’s the funniest thing you’ve ever seen on stage?

From Noises Off to errant pigeons, our panel of theatre workers discuss shows – and onstage mishaps – that have made them laugh

Your views

'Actor' or 'actress'? The debate continues (your views, December 14)

by The Stage

Actors' agents need to play a role in addressing harassment allegations (your views, November 7)

by The Stage

Actors are trained to play all roles (your views, February 22)

by The Stage

Looking for a stage school for your child? The seven questions to ask

by Susan Elkin

Should you study a BTEC if you want a career in theatre?

by Sarah Lambie

Performing arts physical therapist Logan Lefler: 'Listen to your body; Take care of it'

by John Byrne

Audition tips: how to look after your mental health

by Samantha Marsden

Is it crucial to go to a Federation drama school?

by Susan Elkin

What is the Federation of Drama Schools?

by Sean McNamara

'Actor' or 'actress'? The debate continues (your views, December 14)

by The Stage

Actors' agents need to play a role in addressing harassment allegations (your views, November 7)

by The Stage

Careers Clinic by John Byrne

How will I get by with no work during the coronavirus crisis?

Dear West End Producer

‘What audition songs do you love, but want people to stop singing?’

Quote UnQuote

Quotes of the week, April 16: David Pugh, Adrian Edmondson, Phoebe Waller-Bridge and more

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Big Interviews

The Stage talks in depth to movers and shakers from across the industry

Julian Bird

Chief executive, Society of London Theatre/UK Theatre

Julian Bird

Chief executive, Society of London Theatre/UK Theatre

Julian Bird

Chief executive, Society of London Theatre/UK Theatre

Crystal Pite

Choreographer

“We’re talking about plans A, B and C, it changes every week”

Antonio Pappano, music director of the Royal Opera House in London, has been at the top of the opera profession for almost two decades. The ‘singer’s conductor’ talks to George Hall about how Daniel Barenboim brought him to Bayreuth, his disastrous debut at Covent Garden and how the company is responding to the coronavirus crisis