871 stories by "Matt Trueman"
When I teach criticism, one of the first things I tell students is that it's impossible. The very process of translating a
There's a car in Lord of the Rings, racing around Middle-earth. Gladiator has at least one gas-powered chariot and, going by a
Once based in a rundown boozer, DryWrite nights encouraged risk and giddy game-playing " their spirit is felt in Killing Eve and across British theatre today
When Phoebe Waller-Bridge perfor…
Every year, the cry goes up: the Edinburgh Festival Fringe is in mortal danger. It has sacrificed its soul on the altar
From Othello to Oedipus via Richard III, Dutch actor Hans Kesting has played some of the biggest roles in theatre. He tells
Theatre company Kandinsky explore the city's political identity and the legacy of luddism in an age of austerity and automation
On 8 April 1812, there was a riot at the Royal Exchange buildi…
My friends " mes amis " I think we might have Molière all wrong. There are bigger problems, true, but I think
Soho Theatre's programme is a unique mix of live performance, moulded by collaboration between producers and associate artists. As the venue eyes
What's the secret of success in theatre criticism? In my experience: Microsoft Excel. Forget carving out that neat turn of phrase. Don't
Is it just me or are we losing lone voices? Read the review round-ups that roll out after big openings and, more
Amy Letman, the creative brains behind the Leeds event, talks to Matt Trueman about her mission to make the city a thriving
Good is no longer good enough. Arts Council England is changing its priorities ahead of its current strategic review. "Relevance is the
On his 80th birthday, actors Penelope Wilton, Ben Miles and Nina Sosanya celebrate an achingly funny playwright
People recognise themselves in Alan's plays. He understands the British and th…
The son and grandson of journalists aims to complicate the "pantomime villain" he portrays in "Ink."
Tom Mothersdale has played 'lots of villains, lots of creeps' and now he's taking on the granddaddy of stage villainy: Richard III.
Rising designer Frankie Bradshaw has created deeply atmospheric onstage worlds for shows such as Orca and Sweat. She tells Matt Trueman how
From Enda Walsh's disembodied voices to a Royal Court escape room, experimental theatre is being made without performers
'I don't know if it is theatre," Enda Walsh says of his new show. In …
Every year, eyebrows are raised over the Olivier Awards' eligibility criteria. What Theatreland's top prizes boast in prestige, they sometimes seem to
Experimental playwright Eve Leigh is becoming an increasingly intriguing voice in UK theatre. She talks to Matt Trueman about her new play
The show Inside Bitch, made by women with experience of the penal system, dismantles Bad Girls stereotypes, while new play The Jumper Factory explores fear behind men's bravado
'Deeply distu…
Allow me, momentarily, to hold a candle for C Venues. Last week, the Scotsman revealed that the Edinburgh Festival Fringe operator had
He lit up An Octoroon, had a cult smash with Pomona and let loose deadly bunnies in Buggy Baby. Now the director is set to stun audiences with Peter Shaffer's psychodrama Equus'You have to d…
While German theatre design has no single defining aesthetic, its exponents are known for being less reserved than their British counterparts. They
Co-produced by Talawa Theatre and the Royal Court, Superhoe is a one-woman play bringing east London to west London. Matt Trueman meets
The Olivier winner has become the National Theatre's go-to designer, creating the world of some of its most groundbreaking productions in the
