4 Jan 2012: Gina Allum: With a 2:1 ratio of women's to men's toilets, Broadway is streets ahead in catering for female audience members. Theatreland has been caught short
2 Jan 2012: Maxie Szalwinska: From Morgan Lloyd Malcolm's Belongings to Gina Gionfriddo's Becky Shaw, 2011 has seen a healthy flock of original plays. But theatre must keep up the good new work
Alistair Smith: Our end-of-year '12 months in 12 pictures' roundup takes you all the way from Anna Nicole: the opera to the autumn awards season, via those culture cuts, an RSC resurgence and, of course, the Edinburgh festival
Originally published in the Guardian on 24 December 1940: There is an unexpected dearth of new songs, but none of the expected dearth of splendour in the West End of London's only pantomime, Francis Laidler's "Aladdin" at the Coliseum
Neil Hannon and Tom Morris talk to Andrew Dickson about how they brought Arthur Ransome's version of Lake Windermere to the West End and gave it tunes – then discovered the author's mysterious past
14 Dec 2011: Molly Flatt: Murder, madness, mutilation … the winter's family plays embrace the darker side of life, whether it's Roald Dahl's Matilda or the RSC's Robin Hood. But should we let them?
13 Dec 2011: Lyn Gardner: Were you transfigured by Michael Sheen's The Passion, blown away by Tender Napalm or tickled by One Man, Two Guvnors? It was a deficit-defying year in theatre
11 Dec 2011: Letter: Extended hours of parking control are likely to have a serious impact on our visitors and audiences at a time when arts budgets are already being severely challenged by cuts in government spending
A small independent cafe in London's West End, frequented by actors since 1965, is facing closure. Now it has become the subject of an A-list campaign to save it – and a focus for growing discontent over the homogenisation of the high street
Cat Stevens seeks a new musical life in Australia, the Royal Variety Performance turns into a four-hour marathon, and a new Chelsea fringe is set to blossom
Instead of giving us a battle for supremacy between two star performers, this ensemble production reminds us that Schiller looks both back to Shakespeare and forward to John le Carré, says Michael Billington