The success of Love Never Dies highlights something missing from UK theatre
Spoiling the ship – should critics avoid spoilers in their write-ups?
For one night only at the Lord of the Rings – stage magic Tolkien couldn’t dream of
Sophie Thomas: The dates in my theatrical diary for the remainder of 2023
Edinburgh Fringe blog: Bacon playwright Sophie Swithinbank on gender, sexuality and masculine behaviours
Edinburgh Fringe blog: Olivier Martin Salvan on The Ice Hole – A Cardboard Comedy
Edinburgh Fringe blog: Ben Target on telling a story with live carpentry
Edinburgh Fringe blog: Mervyn Stutter’s not slowing down after 30 years at the Fringe
Edinburgh Fringe blog: Jessica Wu’s journey to Hello Kitty Must Die
Edinburgh Fringe blog: Public – The Musical co-writer on a show with ‘compassion at its heart’
Edinburgh Fringe blog: Adam Lenson on Anything That We Wanted To Be
Criticism comes with the territory: Sarah Crompton on Rufus Norris’ time at the National Theatre
Shucked is a shucking perfect choice for the West End
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