Review: Race Cards at the Arnolfini, Bristol


An invite to question ourselves and our prejudices: Kate Wyver reviews the Race Cards installation at In Between Time 2017.

Published Today


Queer women on stage: Representation v. exploitation

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.

23 February


Review: Low Level Panic at the Orange Tree Theatre

Orange Tree Theatre

From 1988 to 2017: Rosemary Waugh reviews the Orange Tree Theatre's revival of Clare McIntyre's Low Level Panic.

Published Today


Review: Murder, Margaret and Me at York Theatre Royal

York Theatre Royal

Don’t be put off by the doilies: Louise Jones reviews Philip Meeks' play about Agatha Christie and Margaret Rutherford.

Published Today


Enter your email address below to get an occasional email with Exeunt updates and featured articles.


Review: The Cherry Orchard at Arcola Theatre

Arcola Theatre

The axe falls on the old society: Neil Dowden reviews the final play in the Arcola's Revolution season.

Published Yesterday


Review: Narvik at the York Theatre Royal

York Theatre Royal

A satisfying sense of dissatisfaction: Louise Jones reviews Box of Tricks' production of Narvik.

Published Yesterday



Rosemary Waugh

Sonja Linden: “I want to challenge our audience to rethink attitudes to older people”

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 Staff

Opportunity: Columnist

Exeunt is recruiting a paid black or minority ethnic columnist, to help widen the conversation around theatre. Read on for more details.


Picking My Scabs for Your Entertainment

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?"

Nicole Serratore

A Battle for Contextual Criticism

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.

See All Features




View All  


Review: Sunny Afternoon at the Grand Opera House, York

Grand Opera House

A genuine, organic sense of energy: Adam Bruce finds Sunny Afternoon to be more than your average jukebox musical.

Published Yesterday


Review: Hotel Europe at the Green Rooms Hotel

Green Rooms Hotel

Unwinding the individual threads: Rosemary Waugh reviews a collection of five audio plays created in response to Brexit.

25 February


Review: Life According to Saki at Fourth Street Theatre

Fourth Street Theatre

Alison Durkee reviews this Best of Edinburgh transfer to NYC.

24 February


Review: See Me Now at the Young Vic and The Space Between Us at the Manchester Royal Exchange

Not only how the world is, but how it might be: Maddy Costa reviews See Me Now and The Space Between Us.

24 February

More Features

13 February
Alice Saville

Why theatre needs to love film, not fear it

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.

6 February
Maddy Costa

Busty Beatz: “I’m responding to capitalism, patriarchy, elitism.”

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.

3 February
Fergus Morgan

The Trouble With ‘National’ Theatre

"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.

2 February
Richard Turney

John Berger’s Intimate Relationship with Theatre

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.