The Stage

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Natasha Tripney

International Editor

More from this Author

Early birds and night owls: why a show’s start time can make all the difference

Fasting and theatremaking: Muslim artists on working through Ramadan

Political meddling in arts organisations across the globe is an issue for us all

Touring is in a critical state – it’s time for a reset

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

Early birds and night owls: why a show’s start time can make all the difference

The Oliviers enjoyed a welcome return to prime-time TV – long may that continue

People-powered creativity will outlive AI, and this theatre design is proof

Curtain calls: To film or not to film, that is the question

Olivier Awards 2026: who should and who will win this year?

Diamonds and Dust’s liquidation lays bare the fragility of theatre finances

Curtain calls: To film or not to film, that is the question

ACE can only genuinely change if its relationship with artists matures

As regional theatre coverage sadly narrows, let’s hear it for the local critics

The Olivier Awards still has a long way to go on equal representation

Natasha Tripney

International Editor

Natasha is international editor for The Stage. She co-founded Exeunt magazine and regularly writes for the Guardian and the BBC.

More from this author

Early birds and night owls: why a show’s start time can make all the difference

Fasting and theatremaking: Muslim artists on working through Ramadan

Political meddling in arts organisations across the globe is an issue for us all

Opinion

Latest
Most Read

Touring is in a critical state – it’s time for a reset

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

Early birds and night owls: why a show’s start time can make all the difference

The Oliviers enjoyed a welcome return to prime-time TV – long may that continue

People-powered creativity will outlive AI, and this theatre design is proof

Curtain calls: To film or not to film, that is the question

Early birds and night owls: why a show’s start time can make all the difference

Curtain calls: To film or not to film, that is the question

The Oliviers enjoyed a welcome return to prime-time TV – long may that continue

People-powered creativity will outlive AI, and this theatre design is proof

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

Why have we normalised the idea of being miserable for your art?

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’

by John Byrne

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

by John Byrne

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

by John Byrne

‘Leicester Square is absolutely dead’: one year on from the busking ban

Street performers have lamented financial losses and a less ’vibrant’ atmosphere in Leicester Square one year after a ban on busking in the area came into force

‘Leicester Square is absolutely dead’: one year on from the busking ban

Street performers have lamented financial losses and a less ’vibrant’ atmosphere in Leicester Square one year after a ban on busking in the area came into force