'I’ve never known Sherlock to have a Geordie accent': Lauren Vevers writes on an atmospheric, distinctly Northern, Conan Doyle adaptation.
Ain't no party like a Regency ball: Lilith Wozniak reviews Blood of the Young's irreverent, karaoke-fueled take on Austen.
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Bad blood: Frey Kwa Hawking writes on Frances Ya-Chu Cowhig's play about "the almost unbelievable political and humanitarian mess" of China's plasma trade.
In this interview with Ben Kulvichit, the writer-director duo discuss their show Wild Swimming, symbiosis, and why emerging artists need to make mistakes.
Ravi Ghosh writes on Rob Icke's dive into minority identity, and why audiences need to be pushed towards self-examination, not self-congratulation.
Theatre director Adam Lenson writes on the Falsettos casting controversy, and why the Jewish community needs to be involved in telling its own stories.
Francesca Peschier writes on the shows bringing ecstatic moments and authentic queer people of colour's experiences to the Edinburgh fringe.
Comedy over chemistry: Tracey Sinclair writes on an uneven production from the Watermill Ensemble with lacking lovers but plentiful laughs.
A dialogue review of Edinburgh fringe's sights, shows and smells by Joakim (aged five) and Katarina (aged three-and-a-half).
Exeunt is proudly flying the flag for longform criticism at the fringe. Too busy to read it all? Here's a handy digest of the shows our writers love.
Emerging directors leap through ever-shifting hoops for a chance to work at the UK's biggest theatres. Holly Williams asks: is the system working?
Alice Saville sorts the (pink) sheep from the GOATs in her write-up of 2019's frenetic Latitude festival.