We are now firmly in the post-truth era as defined by Oxford Dictionaries: "adjective - relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief." Never have we been more in need of honest discourse, but dishonesty – or what Alan Clark memorably described as “being economical with the actualité” – has somehow become the order of the day.

You’ve got to hand it to David Greig. The artistic director of Edinburgh’s Lyceum Theatre has shown quite a knack for surfing the zeitgeist with his programming – and more importantly, tackling urgent political issues in a properly theatrical way.

Journalist Mark Austin is no stranger to conflict, having reported from war-torn landscapes including Rwanda, Iraq and even the ITN newsdesk. However, when the battle lines were drawn closer to home and involved an enemy he couldn’t see, the veteran journalist found himself in unfamiliar territory and without any kind of roadmap. 

When An Inconvenient Truth won the best documentary Oscar 10 years ago, the film’s success marked two significant events: a positive turning point in the campaign to avert environmental catastrophe; and the resurrection of the public career of Al Gore, after his presidential defeat at the ha

It was only at the dawn of the Blair age that Peter Kosminsky truly emerged as a basilisk-eyed observer of the nation’s moral health. By the time New Labour came to power in 1997, Kosminsky had been working for several years on a film which was eventually broadcast in 1999. Warriors, an award-winning account of the traumatic fallout of peacekeeping in Bosnia, served as a prequel to a trilogy of films in which he tracked the ethical degradation of the Blair decade.

The name will never trip off the public tongue. Millions watch his work - most recently his superb realisation of Hilary Mantel's Wolf Hall. But there is no hall of fame for television directors. It’s only on the big screen that they get to be big shots. The difference with Peter Kosminsky (b 1956) is, although it’s the title he takes in the credits, he's not really just a director.

A new plague is sweeping British theatre: audience participation.

"Ura!" as soldiers cry in Russian epic opera's last fling, Prokofiev's War and Peace: supertitles have arrived at the Proms, after much special pleading here and elsewhere.

Much loved, yes. But Dickens’s novel is probably little read by modern audiences and so a chance to see a new adaptation of this tale of discontent, riot and general mayhem set in the French revolution and spread across London and Paris in the late 1700s should be a genuine treat for theatregoers.

A memorable 2015 parliamentary select committee hearing asked Kids Company CEO Camila Batmanghelidjh and chair of trustees Alan Yentob whether the organisation was ever fit for purpose.