Red Pitch warms up for its West End opening night: ‘The canvas is larger now’
Rosemary Squire on growing the broad base of Trafalgar Entertainment – and building the largest musical theatre in decades
The Color Purple director Blitz Bazawule: ‘This film was going to live and die by how big the set pieces were’
Beverley Knight discusses the National Lottery’s Big Night of Musicals, Sister Act and Ruth Jones
Michael Longhurst: I think theatres need to regenerate
Meet the Frasers – the family making magic in The Little Big Things
Maimuna Memon: A creative on a mission to rebrand music theatre
Björn Ulvaeus and Antony Costa: In the Mamma Mia! world you can do anything
Jamie Bogyo is returning to his roots – and swapping Shaftesbury Avenue for Southwark
The many versions of Hiran Abeysekera
Heathers producer Paul Taylor Mills: We’ve seen a huge surge in new musicals aimed at young people and it is thrilling
A five-part Odyssey across the nation – director Emily Lim discusses the Public Acts pilgrimage
Edinburgh Fringe Q&A: Rebekah Hinds on revisiting Kathy and Stella Solve a Murder
Edinburgh Fringe Q&A: Sally Cookson on Birthmarked – “The improvised feel is crucial”
Next to Normal composer Tom Kitt on UK solo concerts and his dream collaboration from the music industry
Edinburgh Fringe Q&A: Levi Roots on Sound Clash: Death in the Arena
Edinburgh Fringe Q&A: Jamie Armitage on An Interrogation
A Strange Loop director: ‘I like the process of starting small and ending big’
Creators of new musical ”New York, New York” discuss their Broadway show
Operation Mincemeat creators: It’ll be strange when we can’t write something on the bus on the way to the show 
Hadley Fraser on painting with steam in ”The Lehman Trilogy”
Cameron Mackintosh on Sondheim’s unfinished musical: ‘It was 50 or 60 per cent there’
Brendan Fraser and Samuel D Hunter discuss the theatrical roots of ”The Whale”
Cameron Mackintosh on ”Stephen Sondheim’s Old Friends”: ‘We knew we had his blessing, and he helped shape it’