Not everything is equal when it comes to international festivals

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

US shows are resonating very differently after Trump’s election win

'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

Everyone is welcome at the theatre, unless...

Finally – a decent theatre trailer

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

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

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Features by Natasha Tripney

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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Not everything is equal when it comes to international festivals

Opinion

Latest
Most Read

US shows are resonating very differently after Trump’s election win

'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

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

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

US shows are resonating very differently after Trump’s election win

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

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

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'

Wayne McGregor: We can't rely on philanthropy to help rescue the arts

Choreographer Wayne McGregor has warned that philanthropy alone cannot rescue struggling theatres or adequately support underpaid dancers

Wayne McGregor: We can't rely on philanthropy to help rescue the arts

Choreographer Wayne McGregor has warned that philanthropy alone cannot rescue struggling theatres or adequately support underpaid dancers

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US shows are resonating very differently after Trump’s election win

“Boasts one of the strongest new books on Broadway”

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

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'

Recommended for you

US shows are resonating very differently after Trump’s election win

“Boasts one of the strongest new books on Broadway”

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