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At the heart of this programme is Ruth Hardie, Head of Public Programming, whose curatorial vision shapes the Centre’s seasonal offerings. With a keen eye for innovation and inclusivity, Ruth helps orchestrate experiences that invite audiences to engage with art in meaningful ways.

The 'Milly Rock', it seems, belongs to no one and to everyone. The copyright questions remain unresolved, and the performance circles back to the essential rocking question: who owns what?

The breadth of the role of choreographer on today's stage

Ozawa’s creative style, which fuses traditional techniques with modern visuals and existential questions, is unique to the British landscape.

Writer and leading woman Lily Sinko brought a new, unique comedy entitled, ‘Magdalena: Woman of Joy’ to Playhouse East from the 10th to...

An Oak Tree challenges conventional theatrical forms, offering a rich meditation on grief, belief, and the alchemy of performance.

★★ | The curtain rises on architect Henry Solness (Ewan McGregor) striding onstage to deliver a speech upon the unveiling of his latest...

Dame Imelda Staunton's dramatic range is complemented by her daughter Bessie Carter’s portrayal of a staunch demeanour undercut by flickers of hesitation.

Both Lowden and Freeman do the best with the material they’re given, navigating their characters’ psychological spirals with intensity.

King’s Shakespeare Company has gained a reputation at King’s College London for remarkable productions - Emma Howard-Littlefield’s directorial debut ‘As You Like It’ is no exception.