Can Milo Rau truly transform Wiener Festwochen, one of Europe’s biggest festivals?

Great Gatsby Broadway musical to arrive in West End in 2025

'Musicals don't get written, they get rewritten' – is the old adage still true today?

What can theatre learn from the campaign for grassroots music venues?

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

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

Patching over problems is no longer enough. Theatre needs radical change

Finding new audiences for opera? It may well require new types of opera

Everyone is welcome at the theatre, unless...

Finally – a decent theatre trailer

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

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

Is ACE finally addressing the chronic precarity of theatre's freelancers?

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

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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

Meet NTGent’s new in-house artist – but Alva Ishii doesn’t really exist

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Opinion

Latest
Most Read

'Musicals don't get written, they get rewritten' – is the old adage still true today?

What can theatre learn from the campaign for grassroots music venues?

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

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

Patching over problems is no longer enough. Theatre needs radical change

Finding new audiences for opera? It may well require new types of opera

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

Patching over problems is no longer enough. Theatre needs radical change

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

Everyone is welcome at the theatre, unless...

Finding new audiences for opera? It may well require new types of opera

Should you change agent? Or is it just the slow market? Here is my take

Advice

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'

Alex James-Hatton: 'There needs to be more support for actors, creatives and people who work behind the scenes'

Timothy West

The acclaimed actor, who has died aged 90, was renowned for his versatility, taking on roles from King Lear to Private Godfrey in Dad’s Army

Tinuke Craig named associate artistic director at Open Air Theatre

Craig joins artistic director Drew McOnie with immediate effect as part of a ‘newly structured’ senior leadership team at Regent’s Park Open Air Theatre

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UK Wide. Preferred base in Midlands Paid

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“James Monroe Iglehart nails Armstrong’s vocal quality”

Maybe Happy Ending review

Reviews by Nicole SerratoreBelasco Theatre, New York

A Wonderful World: The Louis Armstrong Musical review

Reviews by Lane WilliamsonStudio 54, New York

Finding new audiences for opera? It may well require new types of opera

Great Gatsby Broadway musical to arrive in West End in 2025

Advice

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'

Alex James-Hatton: 'There needs to be more support for actors, creatives and people who work behind the scenes'

“Boasts one of the strongest new books on Broadway”

Recommended for you

Maybe Happy Ending review

Reviews by Nicole SerratoreBelasco Theatre, New York

“James Monroe Iglehart nails Armstrong’s vocal quality”

A Wonderful World: The Louis Armstrong Musical review

Reviews by Lane WilliamsonStudio 54, New York

Finding new audiences for opera? It may well require new types of opera

Great Gatsby Broadway musical to arrive in West End in 2025