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.