The Bike Shed's model means companies like ours can afford to create work
By Anna Coombs
As Tangle's new production of Doctor Faustus is the final show at the Bike Shed before it closes, Anna Coombs explains why theatres like that are so important to the fringe
How to make a musical: Putting it out there
The second instalment in our series of blogs by writer and WhatsOnStage critic Michael Davies about getting his musical adaptation of Tess of the d'Urbervilles off the ground looks at how to get the cast recording noticed
250 years of circus: the street origins of foot juggling
By Zhu Baoyu
Cirque du Soleil foot juggler Zhu Baoyu explains how she started and where the discipline came from
Don't knock stunt casting, it holds the key to theatre's future
Matt Trueman reflects on the role of stunt casting in British theatre
Is there such a thing as a definitive performance?
As Lesley Manville and Jeremy Irons open in Long Day's Journey Into Night Sarah Crompton asks whether there's a case for seeing classic plays over and over again
Can a piece of theatre ever be a finished product?
As A Pacifist's Guide to the War on Cancer opens its international tour, Matt Trueman reflects on how shows can go through a process of reinvention
Recognising amazing work by women is the first step to gender equality
As the WOW Women in the Creative Industries Awards are announced, Sarah Crompton reflects on the wealth of women doing incredible things in the creative sector
VAULT Festival provides lonely emerging artists with a community
By Amy Conway
As she mounts her first production at the festival, Amy Conway tells us why VAULT is important for independent theatremakers
Supporting performances can mean as much as star turns
After Andrew Scott paid tribute to his co-stars in his acceptance speech for the Critics' Circle Award, Matt Trueman looks at why we need to champion the supporting role more