Andrzej Lukowski: Don’t be silly – if theatre critics' reviews are clickbait, Kenneth Tynan was a troll

A totally anonymous theatre critic is something that I would love to see

It is down to critics, as much as the industry, to support risk-taking theatre

Is theatre afraid of the word ‘romcom’?

Did Tammy Faye lose its sense of proportion on the way to Broadway?

Beyond ticket prices: the battles and benefits of regional theatre

Musical theatre lost so much talent to AIDS, but we must remember how it also helped change perceptions

We should be concerned that 20 of the top 35 producing theatres are dark in November

Shakespeare has always engaged with those on society’s margins – it still does

Wicked is casting a spell over film audiences – what's the secret to its screen success?

Everyone is welcome at the theatre, unless...

The National Theatre’s cut to its school touring scheme is damaging to theatre – and children

Call me Scrooge, but this over-told tale is so rarely done well

Funded venues are struggling. It’s why fringe theatre is so important

Two stars of technical theatre have left us too soon, but they will keep on inspiring me

The NT’s Coriolanus was diversity at its best – yet others are still stuck in the past

Recommended for you

Have we missed a golden generation of theatre critics?

A totally anonymous theatre critic is something that I would love to see

It is down to critics, as much as the industry, to support risk-taking theatre

Is theatre afraid of the word ‘romcom’?

Andrzej Lukowski

Andrzej Lukowski is theatre editor at Time Out London

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Did Tammy Faye lose its sense of proportion on the way to Broadway?

Beyond ticket prices: the battles and benefits of regional theatre

Musical theatre lost so much talent to AIDS, but we must remember how it also helped change perceptions

We should be concerned that 20 of the top 35 producing theatres are dark in November

Shakespeare has always engaged with those on society’s margins – it still does

Wicked is casting a spell over film audiences – what's the secret to its screen success?

Fallow years: could theatre learn something from Glastonbury?

I’m back where I began, but as a tutor not a student – it’s inspiring... and petrifying

Wicked is casting a spell over film audiences – what's the secret to its screen success?

We should be concerned that 20 of the top 35 producing theatres are dark in November

Beyond ticket prices: the battles and benefits of regional theatre

If the National Theatre can’t afford primary schools tours, who can?

Advice

The Stage/Bridge Theatre Training Company scholarship winners 2024

by Paul Vale

Sofia Jones: 'You can always learn from those around you'

Sadie Pearson: 'The more work you put on, the more opportunities come your way'

Alexa Morden: ‘I’d love to demolish the hierarchy of power that exists in the industry'

Did Tammy Faye lose its sense of proportion on the way to Broadway?

Despite the draw of Elton John being the name behind the Tammy Faye musical, a lukewarm audience reception and flat critical response sealed its fate on Broadway. Were expectations simply too high?

Former panto dame jailed for embezzling from children’s theatre company

David McCann, who performed under the name David Wallace, was handed an 18-month sentence for stealing £75,000 over a period of four years

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Have we missed a golden generation of theatre critics?

A totally anonymous theatre critic is something that I would love to see

It is down to critics, as much as the industry, to support risk-taking theatre

Is theatre afraid of the word ‘romcom’?

Archive by Nick Smurthwaite

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Advice

The Stage/Bridge Theatre Training Company scholarship winners 2024

by Paul Vale

Sofia Jones: 'You can always learn from those around you'

Sadie Pearson: 'The more work you put on, the more opportunities come your way'

Alexa Morden: ‘I’d love to demolish the hierarchy of power that exists in the industry'

Recommended for you

Have we missed a golden generation of theatre critics?

A totally anonymous theatre critic is something that I would love to see

It is down to critics, as much as the industry, to support risk-taking theatre

Is theatre afraid of the word ‘romcom’?