This paper considers the new discourse of applied theatre and suggests that ‘applied theatre’ has moved from being an umbrella term to refer to a range of particular forms of theatre practice sharing specific common features, to become a term referring to a specific form itself. It suggests that the discourse now delineates a restricted and exclusive type of radical practice, enshrined in an evangelical frame. The new discourse acts to exclude a range of other practices that might once have been deemed appropriately placed under an applied theatre umbrella. Consideration is given to why the term was introduced, whether it serves a useful function, and to its subsequent trajectory. Furthermore, the paper suggests that one of the forms that has been pushed out into the rain is drama in education.