‘The level of the audience’s participation in the show, whether it was screams, cheers, boos or bear growls, was something to behold’: youth critic Gully Thompson on Black Honey’s One the Bear
-
-
Autistic critic Jess Flint reviews A_tistic Theatre’s Helping Hands, a show that explores how ‘help’ can sometimes be the opposite
-
How do we make systemic change in an often resistant industry? Jessica Walton reflects on an empowering symposium on disability and the arts
-
From its initial season as a fringe play, Fleabag has grown to a global phenomenon. Kirsten Krauth talks to Sian Clifford about playing sisters with Phoebe Waller-Bridge
-
When Tom Middleditch, a vocal advocate for neurodiverse representation on stage, saw Robot Song, his first response was rage. But then he changed his mind. This is what happened…
-
Canadian First Nations choreographer Lara Kramer draws a surreal picture of colonised life in Windigo, says Philipa Rothfield
-
Yumi Umiumare’s Butoh work Forbidden Laughter shows that laughter isn’t always funny, says Philipa Rothfield
-
Teen critic Gully Thompson is disappointed by the stage adaptation of David Walliams’ Billionaire Boy
-
‘Disabled artists should be a priority for this industry. Many artists are already there creating work. They don’t need mentorships! They need money.’ Jessica Walton on the power of disability-led art
-
Monumental and mythic: Philipa Rothfield on Jill Orr’s Dark Night