A decade on from the New Statesman’s 100th anniversary, I’m flushed with reminiscence
During the austerity decade, life at the magazine was coloured by gifted colleagues and celebrity guest edits.
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Helen Lewis
Helen Lewis is a staff writer at the Atlantic and former deputy editor at the New Statesman.
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Tom Stoppard’s new play Leopoldstadt is inseparable from its author’s biography
There is no separating the artist and the art in Tom Stoppard’s Leopoldstadt, which draws directly on his life as…
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The relentlessly gynaecological joys of The Welkin
Set in 1759, this play is messy, ambitious and genre-bending.
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What we want: A hung parliament
Neither Boris Johnson nor Jeremy Corbyn deserves to win the general election.
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Jellyfish: exploring the sex life of a woman with Down’s syndrome
“Can you hear that sound?” asks Kelly, holding one finger up in the air. “It’s my virginity, screaming.” Her…
By![Donmar Warehouse’s [BLANK] skewers middle-class feminist benevolence](https://dl6pgk4f88hky.cloudfront.net/2021/06/2019_43_theatre.jpg "Donmar Warehouse’s [BLANK] skewers middle-class feminist benevolence")
Donmar Warehouse’s [BLANK] skewers middle-class feminist benevolence
Plus: The Old Vic’s Lungs.
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Chris Morris on his new terrorism satire The Day Shall Come
The man behind Brass Eye and Four Lions tells Helen Lewis about the confected terrorism plots that inspired his new…
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A Very Expensive Poison and Hansard: sets that make or break
Two new plays, at the Old Vic and the National Theatre, both have incredible assets – but their set designs…
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It’s a cliché to say that politics is “beyond satire”, but Brexit really has killed comedy
“What the hell,” I asked my husband at the weekend, “is that awful noise coming out of your phone?”…
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