SHAKESPEARE 400



Why Skepta and streetwear can help young people connect with Shakespeare
Matt Trueman on why we need invention to bring young people to the Bard
'The Columbine shootings have influenced our Romeo and Juliet'
Fight director Kate Waters explains the way she approached staging the violence in Shakespeare's Globe's upcoming production of Romeo and Juliet
Is Ivo van Hove's Roman Tragedies the most significant piece of theatre in Britain in a decade?
Toneelgroep's six-hour adaptation of three of Shakespeare's tragedies returned to the Barbican this month
Theatre is the worst place for a first date
As Valentine's Day approaches, Sarah Crompton warns new couples that a trip to the theatre may not be the most romantic of evenings
Michael Billington is wrong: the National Theatre's future has to be in the here and now
Matt Trueman responds to The Guardian writer's blistering piece about the National Theatre's neglect of classic plays
Purpose-built theatres are no match for cathedrals
By Ben Horslen and John Risebero
Antic Disposition founders Ben Horslen and John Risebero explain the challenges and rewards of mounting productions in buildings not originally designed for performance
I'm with Imelda: People shouldn't munch in the theatre
Sarah Crompton applauds Imelda Staunton's call for food to be banned in theatres
Emma Rice's departure is not about lighting
As Shakespeare's Globe announces the departure of its artistic director, Matt Trueman delves into the deeper issues behind the announcement
Mark Norfolk: It took three years to create all-black Hamlet
By Mark Norfolk
The writer of Britain's first production of Hamlet with an all-black cast and creative team talks about 'serving Shakespeare's text as much as possible', and working with director Jeffery Kissoon
Sarah Crompton: Why do some people like to know the ending?
Sarah Crompton on the importance of plot and why she always prefers to be surprised