Kate Maltby

Theatre’s security staff face an increasingly tough challenge to ensure safety, with often aggressive fans – or commercially minded autograph hunters – thronging outside stage door, says Kate Maltby

Kate Maltby argues that we need to look more closely at the underlying manifesto of shows such as Nye, which is based on an assumption of shared values. Does ‘inclusivity’ mean embracing diverse political opinions of audiences and theatremakers?

The Donmar’s Macbeth is a reminder to theatremakers to reconsider a post-lockdown audience’s shared experience

Kenneth Branagh’s King Lear was preposterous, but Kate Maltby argues it also showcased Branagh’s greatest asset – his ability to nurture young talent

After interviewing the RSC’s departing interim artistic director Erica Whyman, Kate Maltby wonders who would want to run a big cultural institution in the current financial climate

After seeing Mark Rylance in Dr Semmelweis recently, Kate Maltby questions whether an actor’s opinions should affect how we should view them on stage

Kate Maltby gives a resoundingly negative review to the news that Time Out will only be giving lengthier discussion space to shows rated with three stars or higher

Kate Maltby reflects on an unlikely candidate for a great play – an expert in papyrology. Could cross-pollinating theatre and academia unlock top-of-the-class drama?

Do concentration techniques at the theatre, such as knitting, stitch other people up? Kate Maltby discusses

The West End revival of the Sam Mendes-directed hit has been met with accusations of anti-Jewish tropes. While welcoming that the theatre world is finally opening itself up to conversations about Jewish stereotypes, Kate Maltby says that in this case such criticism misses the mark