In his final blog, Falkland Sound writer Brad Birch tells how his study of what the Islanders endured in 1982 led to a story for the stage.

In 1982, the British overseas territory of The Falkland Islands was the subject of a 10-week undeclared war. Brad Birch talks about the people he met on the islands, and how they inspired his new play Falkland Sound.

Playwright Brad Birch tells how the sights, sounds and smells of islands 8,000 miles away formed the backdrop for his new play Falkland Sound.

In the first of four blogs, writer Brad Birch tells how he came to create Falkland Sound, a play about the life-changing events of the 1982 Falkland Islands conflict.

"You realise how disposable everything is and how much gets thrown away on a whim"

How we collected props for The Tempest from the streets of Stratford with help from Rubbish Friends.

Tom Piper on designing The Tempest as an environmentally friendly production and the challenges in meeting Green Book standards of sustainable theatre.

Lauren talks about combing beaches and the streets of Stratford-upon-Avon to source sustainable props for The Tempest.

David Tanqueray explains how we’re working to make The Tempest's scenery as eco-friendly as possible.

When Alex Kingston, who plays Prospero, wanted to celebrate a colleague's birthday, she turned to rubbish rather than retailers.

Johanna Town talks about designing the lighting for the Tempest, and how the show questions everything we do.

Actor Heledd Gwynn dives into The Tempest and finds a world created from rubbish.

Following on from his last blog about the work of a producer, Joe Kerry discusses how to get started in the role and his path to the RSC.

Why a producer should always have a Plan B. Joe Kerry talks about working as a producer in theatre.

Assistant Producer Joe Kerry takes us inside the rehearsal room, as the cast complete their first week on The Magician's Elephant.

Assistant Producer Joe Kerry is preparing for the first week of rehearsals of our brand-new musical The Magician's Elephant.

After waiting 16 months to bring The Comedy of Errors to life, Assistant Director Hal Chambers has to isolate for the final rehearsals.

Assistant Director Hal Chambers reflects on the last year with members of the RSC acting company.

Everything in the theatre world is on pause and artists everywhere are searching for connection. Our shows are floating in the ether waiting to land on the stage again.

Amy goes online with other members of the company as they sum up their time with the RSC and recall some of their best moments from the last year.

Amy is joined by her fellow actors to delve deeper into the highs and lows of being an understudy on the Shakespeare tour.

Now the tour is over, Amy looks back on what happened when a performance of Measure for Measure was broadcast live to cinemas.

Before the theatre closure was announced, Amy got together with other actors from the Shakespeare tour to talk about being an understudy with the RSC.

Actor Amy Trigg reflects on the Shakespeare tour coming to an abrupt end, as theatres are forced to close by the pandemic.

As rehearsals for The Comedy of Errors are put on hold, Assistant Director Hal Chambers talks about what it's like to be a creative in lockdown.

Amy takes us through the contents of her all-important dressing room box, which travels with her from venue to venue on the Shakespeare tour.

Find out what it's like going on the road with our shows, as actor Amy Trigg arrives in Plymouth for the next stop on our Shakespeare tour.

Assistant Director Hal Chambers explains his role and how Director Phillip Breen has helped the team to rediscover this well-known play.

In a new vlog, James and Amy talk about what it's like to perform at the Royal Shakespeare Theatre, Mamma Mia! and Amy's amazing Shrew speech.

Actor Richard Katz explores the strangeness of the rehearsal room as he prepares to take on the role of Peer Gynt.

As You Like It Movement Director Ayse Tashkiran takes us through her process as she prepares for The Provoked Wife rehearsals.

It depends on which director I am assisting and what the play needs - vague but true