The Stage

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

Theatre should meet Reform UK’s rise with collective action and a clear vision

Could how we talk about opera help shed its elitist image?

Francesca Moody unveils London season of work at the Other Palace

Production News by Lily-Rose Morris-Zumin

School plays are vital – they deserve support

Opinion by Richard Jordan

Papatango reveals three 2026 young playwright award winners

News by Hattie Fisk

Roundhouse reveals theatremakers on resident artist scheme

News by Lily-Rose Morris-Zumin

Andrew Lloyd Webber is right about Broadway – but the West End could be next

School plays are vital – they deserve support

The ‘original key’ debate misses the point

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?

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

The ‘original key’ debate misses the point

Andrew Lloyd Webber is right about Broadway – but the West End could be next

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

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Francesca Moody unveils London season of work at the Other Palace

Production News by Lily-Rose Morris-Zumin

School plays are vital – they deserve support

Opinion by Richard Jordan

Papatango reveals three 2026 young playwright award winners

News by Hattie Fisk

Roundhouse reveals theatremakers on resident artist scheme

News by Lily-Rose Morris-Zumin

Amanda is an associate writer for The Stage. Her career spans leadership and consultancy across screen production, broadcast, arts and culture. She is the former editor of Arts Professional and an Oliver-Award-winning sector leader on equality, diversity and inclusion in theatre.

More from this author

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

Theatre should meet Reform UK’s rise with collective action and a clear vision

Could how we talk about opera help shed its elitist image?

Opinion

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Andrew Lloyd Webber is right about Broadway – but the West End could be next

School plays are vital – they deserve support

The ‘original key’ debate misses the point

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

The ‘original key’ debate misses the point

Andrew Lloyd Webber is right about Broadway – but the West End could be next

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

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

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

School plays are vital – they deserve support

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

The Oresteia starring David Morrissey - review round-up

Simon Stone returns to the Bridge Theatre with a radical reworking of Aeschylus, but does the Australian auteur’s latest adaptation of an ancient tragedy captivate the critics? Fergus Morgan rounds up the reviews.

Bird Conservatoire head: We’re not plastering over historic issues

Bird Conservatoire principal Christopher Costigan has said he has a different approach to leading the organisation to those before him and insisted that changes are not about “plastering over historic issues”