The Stage

Edinburgh tourist tax to fund ‘festival ambassadors’

Edinburgh festivals to contribute £4bn to Scotland’s economy by 2030 – report

Reason not the need: government proposals threaten to quash arts degrees

Theatre’s greatest strength is that we must experience it together

Dear people in power: a letter on why the arts are an essential public infrastructure

Would it be a crime to kill a sacred cow to free up a West End theatre?

When it comes to Shakespeare, it’s quality not quantity that really matters

National touring must not be an afterthought

Would it be a crime to kill a sacred cow to free up a West End theatre?

What does Trafalgar Entertainment’s acquisition mean for the Bridge Theatre?

A Reform UK toolkit? This one missed the mark

It’s action that matters for theatre freelancers and we’re starting to see some

When it comes to Shakespeare, it’s quality not quantity that really matters

Whisper it: did Timothée Chalamet have a point about ballet and opera?

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Lyn Gardner

Lyn Gardner is a theatre critic and associate editor of The Stage. Read her weekly column every Monday.

More from this author

Theatre’s greatest strength is that we must experience it together

When it comes to Shakespeare, it’s quality not quantity that really matters

It’s action that matters for theatre freelancers and we’re starting to see some

Opinion

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Reason not the need: government proposals threaten to quash arts degrees

Theatre’s greatest strength is that we must experience it together

Dear people in power: a letter on why the arts are an essential public infrastructure

Would it be a crime to kill a sacred cow to free up a West End theatre?

When it comes to Shakespeare, it’s quality not quantity that really matters

National touring must not be an afterthought

Would it be a crime to kill a sacred cow to free up a West End theatre?

Theatre’s greatest strength is that we must experience it together

Dear people in power: a letter on why the arts are an essential public infrastructure

When it comes to Shakespeare, it’s quality not quantity that really matters

What does Trafalgar Entertainment’s acquisition mean for the Bridge Theatre?

Why the theatre CEO role is bigger than ever before

Advice

Five factors causing visa issues for theatre shows touring to the US

by Amanda S Brill

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’

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

Amadigi di Gaula review

our fine singers have lots of fun on Melissa’s Island

Hunger Games producers urged to tackle ‘unacceptably long’ working hours backstage

BECTU has urged producers of The Hunger Games: On Stage to tackle ‘unacceptably long’ working hours for backstage workers on the show

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The Stage Magazine - July 2026

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Edinburgh Fringe 2026: the best theatre shows to see this year

Long Reads by The Stage

Edinburgh Fringe 2026: previews around the UK

Edinburgh tourist tax to fund ‘festival ambassadors’

Edinburgh festivals to contribute £4bn to Scotland’s economy by 2030 – report

Advice

Five factors causing visa issues for theatre shows touring to the US

by Amanda S Brill

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’

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

Recommended for you

Edinburgh Fringe 2026: the best theatre shows to see this year

Long Reads by The Stage

Edinburgh Fringe 2026: previews around the UK

Edinburgh tourist tax to fund ‘festival ambassadors’

Edinburgh festivals to contribute £4bn to Scotland’s economy by 2030 – report