James Dacre speaks with White Lies, These New Puritans, Valgeir Sigurðsson, Renell Shaw, Kuljit Bhamra, and Rachel Portman about their experiences composing for theatre.
Wes Anderson’s intellectualization of high art in middlebrow presentation is rife with Brechtian flair and a Clintonite understanding of upper-middle-class politics.
Whether a spry youth thrashing about in punk clubs, a writer publishing poetry, or an actor appearing on police procedurals, JoBoxers frontman Dig Wayne’s life has spanned a full artist’s spectrum.
Ryan Murphy's Netflix adaptation of the satirical musical about Broadway stars inserting themselves into a same-sex school dance controversy, The Prom, hits his sweet spots and his weaknesses.
Just as Disney's Frozen appeared to deliver a message of 21st century girl power, Hamilton hypnotizes audiences with its rhyming hymn to American exceptionalism.
Even though these times of self-isolating feel absurd, the Theater of the Absurd has a lot to teach us about waiting, time, isolation, and feeling like we exist.
By staging a thinly veiled version of Harvey Weinstein – played by John Malkovich in a fat suit – David Mamet aims for controversy in Bitter Wheat.
Henrik Ibsen's verse drama Peer Gynt famously challenges the limits of the stage. So what does Sir David Hare do to adapt the play for the 21st century? Turn the dial up. On everything.
Béla Tarr's work has always been rich with deep humanistic concern, but his post-cinematic projects have taken a more actively ethical stance, as experienced in Missing People.