OPINION

I avoid making predictions, but earlier this year I gazed into my dusty crystal ball and made a call on what Arts Council England’s...

Natasha Tripney Don’t Miss Ink – Almeida Theatre, London Bertie Carvel stars in James Graham’s new play about the birth of the UK’s most controversial and influential...

Deep anger generated by the theatre reviews of Chicago Sun-Times critic Hedy Weiss is nothing new. But the scale of the reaction to one...

Last week, The Stage reported that a website was planning to charge theatre companies £50 for their show to be reviewed at the Edinburgh Festival Fringe....

The appointment of Kenny Wax this week to the top position of president of the Society of London Theatre caps a rise that has...

What’s the best way to train actors to give them an opportunity to develop and still serve the needs of audiences in the 21st...

Long before the term ‘fake news’, there was ‘clickbait’ – the persistent suggestion that contemporary web journalism is being degraded by a chase for...

Lots of digital ink, and not a little actual ink, has been used reporting and opining on the events that have surrounded The Public...

For more than 60 years now and continuing, Alan Ayckbourn has been among our most pre-eminent and prolific playwrights. With at least one new...

Meat Loaf has had one hell of a shelf life. Initially a barbarised Peter Pan musical project, then an operatic prog-rock album no record...

Mark Shenton’s list of six potential successors for the Young Vic theatre is dated, lazy and is a prime example of how the industry...

The interplay between subsidised and commercial theatre is complex and often confrontational but reaching a fresh understanding is imperative if great art is to...
^