Cognitive dissonance: Emma Smith reviews Katie Bonna's one-woman show about lying.
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Virtuosity hidden in the most allusive places: Chris McCormack is at Galway Theatre Festival to review Emma O'Grady's unique solo show.
Introducing Ifeyinwa Frederick and Aniqah Choudhri, the joint winners of our call-out for a new black or minority ethnic columnist.
"Shouldn’t more plays be activist?" Verity Healey explores how shows including E15, My Country and Denmarked intersect with real-life protest movements.
As yet another white man is hired to the most prestigious job in US theatre criticism, Exeunt's New York writers ask when the conversation will really change.
"The people. Demand. The downfall. Of the Regime." Sam Williams explores how journalist Paul Mason's immersive performance imagines theatre as a laboratory for political action.
Lean, mean and theatrically audacious: Christine Irvine is gripped by Fire Exit director David Leddy's first one-man show in over a decade.
More than a greatest hits medley: Tracey Sinclair reviews Split Britches's revisiting of over three decades of work.
'The Privileged' uses a furry polar bear suit to confront racism head on. Alice Saville chats to Jamal Harewood about audience reactions, game theatre, and his new performance 'Word'.
Maddy Costa talks to alternative cabaret star Le Gateau Chocolat about puncturing drag stereotypes, making work about depression, and surviving in a world where “We have to keep fighting for the things and the values that we hold dear.”
"There's a huge culture of people from working class backgrounds feeling inadequate within the arts." Catherine Hoffman explains how shame keeps people powerless, and how her performance as 'Stench Wench' comes clean about class.
After the runaway success of Iphigenia in Splott, Rachel O'Riordan is directing Gary Owen's new play Killology. She talks about her work as artistic director of the Sherman, and how theatre "opens doors to Wales".