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Catherine Love explores the history of the class barrier in theatre, suggesting ways of becoming more accessible for audiences and creatives.

In 1979, giving a talk at Cambridge University, the theatre-maker John McGrath insisted that “there is a working-class audience for theatre in Britain which makes demands, and which has values, which are different from those enshrined in our idealised middle-class audience”. His manifesto for making popular theatre for the working classes, later published as A Good Night Out, was hugely influential. Yet almost 40 years later, McGrath’s observation that the theatr... Keep reading on The Guardian