Ross Bradshaw reviews a recent play at the Nottingham Playhouse about the 1984 Miners’ Strike. Wonderland, written by Beth Steel, was the first play of the new artistic... Continue reading
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Chris Jury tells us why he can’t stand Shakespeare. I don’t like Shakespeare. There, I’ve said it. Said the unsayable. A man who claims to be literate,... Continue reading
In a tribute to Russia’s theatrical experimenters, for whom the Revolution promised a new world of artistic possibilities, Amy Skinner presents a brief history of an art... Continue reading
Jenny Farrell discusses the prophetic politics of the Gravedigger scene in Shakespeare’s Hamlet, in which class-based justice and fundamental human equality are discussed by those whose task it... Continue reading
Doug Nicholls introduces a great new collection of political plays. Trade union struggles over the years have inspired some of our greatest playwrights. They have also inspired... Continue reading
Carolyn Pouncy tells the story of how Russian ballet was modernised, democratised and eventually revitalised by the 1917 Russian Revolution. Ask people unfamiliar with dance history where... Continue reading
Sophie Coudray introduces Augusto Boal’s Theatre of the Oppressed. This paper aims to clarify the original project of Augusto Boal’s Theatre of the Oppressed, which is a... Continue reading
Andrew Warburton reviews Cubanacan, the first new Cuban opera in almost 50 years. When Cubanacan: A Revolution of Forms received its world premiere at the Havana Biennale... Continue reading
Professor Gabriel Egan concludes his series on Shakespeare. Shakespeare’s fellow playwright Ben Jonson paid him a compliment that has come to haunt the study of plays from... Continue reading
Gordon Parsons reviews Joe Kelleher’s book on theatre and politics. W. H. Auden’s insisted that all his poetry put together had not saved a single Jew, and... Continue reading
Showing 31–40 of 43 posts