Change is afoot at WhatsOnStage… 
Adele ‘f*cking hates musicals’ – but maybe she hasn’t found the right one yet
It’s time to retire the term ‘theatre etiquette’ 
Sarah Crompton: The richness and inclusivity celebrated by the Olivier Awards is at risk as never before
Janine Shalom proved that theatre is held together by love and quiet commitment
Does the opening night system need an overhaul?
Cabaret refuses to rest on its laurels – proving long-running shows can be hotbeds for creativity 
Bolts from the blue – 2023 will be an exciting time for new musicals
Ian McKellen and John Bishop prove panto season is for life, not just for Christmas
Sarah Crompton on the WhatsOnStage Awards – a little joy in a time of gloom
‘Performance is everywhere’: Kane Husbands discusses the National Theatre’s largest schools tour
A new year at WhatsOnStage
Appointments in the past – Clive Judd explains his Papatango-winning play ”Here”
Sarah Crompton: The dust has settled after the Arts Council’s announcement – but my fury remains
Hilary Mantel is a huge loss to the stage, as well as the page
Amy Trigg: ”Reasons You Should(n’t) Love Me” started because I wanted more control over the stories I told
Renu Brindle on ”Silence”: ‘My family never fully revisited their past. No words, no outpourings’
Karim Khan: Broadcasters are still too afraid to commit to Muslim storytellers
”Please, Feel Free To Share” – two years of patience pays off at the Fringe
Thirty years of the Birmingham Stage Company – from dressing room offices to West End success
Edinburgh Blog: How a chance encounter grew into a ‘mesmerising’ show
Edinburgh Blog: How making theatre is just like chemistry
Edinburgh Blog: How my play about illness became something bigger
Edinburgh Blog: Joe Sellman-Leava on the impact of winning a Fringe First