Director, actor and a co-founder of Monstrous Regiment, whose work would concentrate on women’s experience

In 1975 the stage director Susan Todd, who has died aged 83, teamed up with the actors Gillian Hanna and Mary McCusker to form Monstrous Regiment, a national touring company that would always have a majority of women members, and whose work would explore the experience of women, past and present.

Taking their title from the Scottish fundamentalist John Knox’s notorious treatise The First Blast of the Trumpet Against the Monstrous Regiment of Women , the company started with Claire Luckham’s Paris commune-set Scum: Death, Destruction and Dirty Washing (1976); the following year came Caryl Churchill’s witchcraft play Vinegar Tom. Todd herself wrote Kiss and Kill (with Ann Mitchell) about domestic violence (1977-78), and – in 1979 – collaborated with me on the company’s first play involving a male writer, bringing the worlds of student revolution and schoolgirl romance into crashing contradiction, in Teendreams . As in all of the early Monstrous Regiment shows, Todd was also a member of the acting company.

Director, actor and a co-founder of Monstrous Regiment, whose work would concentrate on women’s experience

In 1975 the stage director Susan Todd, who has died aged 83, teamed up with the actors Gillian Hanna and Mary McCusker to form Monstrous Regiment, a national touring company that would always have a majority of women members, and whose work would explore the experience of women, past and present.

Taking their title from the Scottish fundamentalist John Knox’s notorious treatise The First Blast of the Trumpet Against the Monstrous Regiment of Women , the company started with Claire Luckham’s Paris commune-set Scum: Death, Destruction and Dirty Washing (1976); the following year came Caryl Churchill’s witchcraft play Vinegar Tom. Todd herself wrote Kiss and Kill (with Ann Mitchell) about domestic violence (1977-78), and – in 1979 – collaborated with me on the company’s first play involving a male writer, bringing the worlds of student revolution and schoolgirl romance into crashing contradiction, in Teendreams . As in all of the early Monstrous Regiment shows, Todd was also a member of the acting company.

Director, actor and a co-founder of Monstrous Regiment, whose work would concentrate on women’s experience

In 1975 the stage director Susan Todd, who has died aged 83, teamed up with the actors Gillian Hanna and Mary McCusker to form Monstrous Regiment, a national touring company that would always have a majority of women members, and whose work would explore the experience of women, past and present.

Taking their title from the Scottish fundamentalist John Knox’s notorious treatise The First Blast of the Trumpet Against the Monstrous Regiment of Women , the company started with Claire Luckham’s Paris commune-set Scum: Death, Destruction and Dirty Washing (1976); the following year came Caryl Churchill’s witchcraft play Vinegar Tom. Todd herself wrote Kiss and Kill (with Ann Mitchell) about domestic violence (1977-78), and – in 1979 – collaborated with me on the company’s first play involving a male writer, bringing the worlds of student revolution and schoolgirl romance into crashing contradiction, in Teendreams . As in all of the early Monstrous Regiment shows, Todd was also a member of the acting company.

Iceland will join Spain, Slovenia, the Netherlands and Ireland in neither participating in nor broadcasting event

Iceland has become the fifth country to boycott next year’s Eurovision song contest after Israel was given the go-ahead to compete, deepening the crisis facing the competition.

The board of the national broadcaster, RÚV, voted on Wednesday not to participate, meaning Iceland will join Spain, Slovenia, the Netherlands and Ireland in neither participating in nor broadcasting the event, which is scheduled to take place in Vienna.

Iceland will join Spain, Slovenia, the Netherlands and Ireland in neither participating in nor broadcasting event

Iceland has become the fifth country to boycott next year’s Eurovision song contest after Israel was given the go-ahead to compete, deepening the crisis facing the competition.

The board of the national broadcaster, RÚV, voted on Wednesday not to participate, meaning Iceland will join Spain, Slovenia, the Netherlands and Ireland in neither participating in nor broadcasting the event, which is scheduled to take place in Vienna.

Iceland will join Spain, Slovenia, the Netherlands and Ireland in neither participating in nor broadcasting event

Iceland has become the fifth country to boycott next year’s Eurovision song contest after Israel was given the go-ahead to compete, deepening the crisis facing the competition.

The board of the national broadcaster, RÚV, voted on Wednesday not to participate, meaning Iceland will join Spain, Slovenia, the Netherlands and Ireland in neither participating in nor broadcasting the event, which is scheduled to take place in Vienna.

As the first learning-disabled artist to win the UK’s most prestigious art award, Kalu has smashed a ‘very stubborn glass ceiling’. Her facilitator reveals why her victory is so seismic – and the secrets of her party playlist

The morning after the Turner prize ceremony, the winner of the UK’s most prestigious art award, Nnena Kalu, is eating toast and drinking a strong cup of tea. Everyone around her is beaming – only a little the worse for wear after dancing their feet off at the previous night’s party in Bradford, and sinking “a couple of brandies” back at the hotel bar. I say hello to Kalu, offer my congratulations, and admire the 59-year-old’s beautifully manicured creamy pink nails. But the interview is with her facilitator, Charlotte Hollinshead, who has worked with the artist since 1999. Kalu has limited verbal communication skills; she has learning disabilities and is autistic.

As for Hollinshead, she is struggling to encapsulate the enormity of the win: for Kalu herself; for ActionSpace , the organisation that has supported her for 25 years; and for the visibility and acceptance of artists with learning disabilities within the wider art world. “It’s unbelievably huge,” she says. “I have to think back to where we started, when there was absolutely no interest whatsoever. I’d sit at dinner parties with friends in the art world. Nobody was interested in what I did, or who we worked with. We couldn’t get any exhibitions anywhere. No galleries were interested. Other artists weren’t interested. Art students weren’t interested. We have had to claw our way up from the very depths of the bottom.”

As the first learning-disabled artist to win the UK’s most prestigious art award, Kalu has smashed a ‘very stubborn glass ceiling’. Her facilitator reveals why her victory is so seismic – and the secrets of her party playlist

The morning after the Turner prize ceremony, the winner of the UK’s most prestigious art award, Nnena Kalu, is eating toast and drinking a strong cup of tea. Everyone around her is beaming – only a little the worse for wear after dancing their feet off at the previous night’s party in Bradford, and sinking “a couple of brandies” back at the hotel bar. I say hello to Kalu, offer my congratulations, and admire the 59-year-old’s beautifully manicured creamy pink nails. But the interview is with her facilitator, Charlotte Hollinshead, who has worked with the artist since 1999. Kalu has limited verbal communication skills; she has learning disabilities and is autistic.

As for Hollinshead, she is struggling to encapsulate the enormity of the win: for Kalu herself; for ActionSpace , the organisation that has supported her for 25 years; and for the visibility and acceptance of artists with learning disabilities within the wider art world. “It’s unbelievably huge,” she says. “I have to think back to where we started, when there was absolutely no interest whatsoever. I’d sit at dinner parties with friends in the art world. Nobody was interested in what I did, or who we worked with. We couldn’t get any exhibitions anywhere. No galleries were interested. Other artists weren’t interested. Art students weren’t interested. We have had to claw our way up from the very depths of the bottom.”

As the first learning-disabled artist to win the UK’s most prestigious art award, Kalu has smashed a ‘very stubborn glass ceiling’. Her facilitator reveals why her victory is so seismic – and the secrets of her party playlist

The morning after the Turner prize ceremony, the winner of the UK’s most prestigious art award, Nnena Kalu, is eating toast and drinking a strong cup of tea. Everyone around her is beaming – only a little the worse for wear after dancing their feet off at the previous night’s party in Bradford, and sinking “a couple of brandies” back at the hotel bar. I say hello to Kalu, offer my congratulations, and admire the 59-year-old’s beautifully manicured creamy pink nails. But the interview is with her facilitator, Charlotte Hollinshead, who has worked with the artist since 1999. Kalu has limited verbal communication skills; she has learning disabilities and is autistic.

As for Hollinshead, she is struggling to encapsulate the enormity of the win: for Kalu herself; for ActionSpace , the organisation that has supported her for 25 years; and for the visibility and acceptance of artists with learning disabilities within the wider art world. “It’s unbelievably huge,” she says. “I have to think back to where we started, when there was absolutely no interest whatsoever. I’d sit at dinner parties with friends in the art world. Nobody was interested in what I did, or who we worked with. We couldn’t get any exhibitions anywhere. No galleries were interested. Other artists weren’t interested. Art students weren’t interested. We have had to claw our way up from the very depths of the bottom.”