Matt Trueman: Should we update recent plays?
Matt Trueman looks at how theatre has to constantly reinvent itself
Holly Williams: How do you review a suicide note?
Our critic discusses the 'lurid fascination' with women who kill themselves and Kane's 4.48 Psychosis
Sarah Crompton: 'Michael Crawford has one of the most extraordinary stories in British showbiz'
As he prepares to make a return to the West End, our critic takes a look at what makes the star of The Go-Between so special
Mike Poulton: The plays we can't write
By Mike Poulton
In his exclusive blog for WhatsOnStage Poulton examines the difficulties associated with bringing the story of Kenneth Morgan and Terence Rattigan's turbulent relationship to the stage
Matt Trueman: British theatre has come to revere German theatre
Our critic spent a week at the annual Theatertreffen festival in Berlin
Sarah Crompton: Dance can't continue to function in a self-enclosed bubble
Sarah Crompton reflects on Liam Scarlett's dismaying Frankenstein and how the Royal Ballet should help to find effective ways of storytelling
Ben Hewis: 'Could a younger audience have saved Show Boat from sinking?'
With Show Boat cutting short its voyage, our deputy editor considers the downfalls of not bringing a younger crowd into certain shows
Gareth Farr: 'Training for the stage must be as current as possible'
By Gareth Farr
Head of Acting at ArtsEd Gareth Farr explains why he commissioned two brand new plays from Matthew Dunster and Jessica Swale for his students to work on
Matt Trueman: The Shed has laid the blueprints for a new National Theatre
As the National Theatre's Temporary Theatre shuts its doors, Matt Trueman looks at the space's legacy
Sarah Crompton: How long is too long?
Sarah Crompton asks whether our appetite for short shows means we are losing out on the gradual unfolding of a play