Melissa Poll uses this online forum to argue that many criticisms of Stephens’ Three Kingdoms, including the main articles in this special issue, avoid grappling with its ‘modern misogyny’.

Reflecting on her staging of Stephens’ Harper Regan in the United States, Gaye Taylor Upchurch asks: ‘why is a woman with agency still such a scary notion?’

Walter Meierjohann discusses his production of Stephens’ The Funfair for the opening season at HOME, Manchester, in light of nationalist resurgence in the UK.

This issue of Interventions explores what the digital might offer to performance scholarship, practice, and criticism.

In ‘Postmedia Performance’ Sarah Bay-Cheng offers theatre and performance scholarship a provocation to rethink its approach to making sense of the digital.

Using the interactive storytelling tool Twine, Megan Vaughan brings recent performances, public space and spaces of encounter into conversation.

Johanna Linsley talks with artist Brian House about his recent projects and the relationship between data gathering, participatory systems and the performance of the private and public.

‘Listening Post’ is a curated collection of artistic projects and critical reflections that offer insight into the performance of the vox populi, the ‘voice of the people’.

This issue of Interventions accompanies a special issue of the journal dedicated to the contemporary Scottish playwright and theatre director David Greig.

In this excerpt from a live conversation, Dan Rebellato talks with David Greig about what it’s like to have his work critically analysed and the playwright’s process of writing The Events (2013).

Victoria E. Price offers reflections on the 2015 production of Lanark: A Life in Three Acts, Greig’s adaptation of the 1981 Alasdair Gray novel of postmodern Scottish identity.

Welcome To The Fringe, a collaboration between David Greig, Forest Fringe, and London’s Gate Theatre, supported Palestinian artists in visiting and presenting at the 2015 Edinburgh Festival Fringe.

‘Butterfly Mind’, a performance-text adapted especially for the web, recreates David Greig’s journey on what he calls ‘an adventure in contemporary shamanic soul retrieval’.

This second collection of hand-picked articles from Contemporary Theatre Review‘s archives celebrates the journal’s 25^th anniversary year.  These articles will be freely available for the next six months, until June 2016.

This issue of Interventions focuses on the relationship between ‘practice’ and ‘research’, offering four different case studies in which these concepts are configured in quite different ways.

In this cross-disciplinary forum, the research project and interactive performance World Factory, directed by Zoë Svendsen, is discussed from multiple perspectives ranging from social geography to marketing.

Brian Lobel and Hannah Maxwell assess The Sick of the Fringe, a Wellcome Trust-funded programme of talks and events exploring the relationship between medicine and the arts at the Edinburgh Festival Fringe.

In ‘Infecting Archives’, Johanna Linsley talks with Martin O’Brien about his collaboration with Sheree Rose and their work with the Bob Flanagan archive at the ONE Lesbian and Gay Archive.

Following ‘duet residencies’ with Chris Goode and Lucy Cash, performance-maker Karen Christopher reflects on how the artistic residency might remain open to collaboration, surprise, and even mayhem.

This issue of Interventions is focused on activism and performance and accompanies the print journal’s special issue ‘Theatre, performance and activism: gestures towards an equitable world’.