There's a long history of same-sex romance between women being exploited as a male fantasy. Naomi Westerman talks about rejecting the male gaze, and her new play Puppy.
A sophisticated piece that's ultimately about belonging: Brendan Macdonald reviews Stephen Karam's play about three teenage misfits.
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Bewley's Cafe Theatre
Realist and meta-realist: Chris McCormack reviews Malaprop Theatre's new work about truth in the modern age.
As Roundelay opens at the Southwark Playhouse, playwright Sonja Linden talks to Rosemary Waugh about why sex and relationships involving older people are rarely discussed.
Exeunt is recruiting a paid black or minority ethnic columnist, to help widen the conversation around theatre. Read on for more details.
Scottee's new show Bravado is an unsparing look at his relationship with masculinity. Here, he looks at confessional performance, self care, and asks "Must all working class artists bleed for their supper?"
A New York Times review sparked fury for critiquing Mark Twain's racial politics. Here, Nicole Serratore steps into the critical dispute over Big River and representation in theatre.
Becoming an activist: B. L. Sherrington reviews a new play based on the true story of the first British-Asian Suffragette.
Orange Tree Theatre
From 1988 to 2017: Rosemary Waugh reviews the Orange Tree Theatre's revival of Clare McIntyre's Low Level Panic.
As cinema, TV broadcasts and online streaming offer more and more ways to watch performance, Alice Saville asks why the theatre world is so slow to embrace the potential of film.
Busty Beatz, MD of Hot Brown Honey, is on residency at Wellcome Collection as part of The Sick Of The Fringe. She talks to Maddy Costa about making the personal political, and confronting Wellcome's colonialism.
"Olivier, Hall, and Nunn had it easy. Norris has it all to do." As Rufus Norris comes under attack, Fergus Morgan explores the troublesome business of theatre and nation building.
The novelist and critic John Berger died at the beginning of this year. Here, Richard Turney explores his work's "porous and fertile border" with the theatre world, and his influence on Chris Goode and Simon McBurney.