As LGBT Pride approaches, Alice Saville asks why London’s glut of queer theatre is looking to the past, not the future.
Following Forest Fringe’s announcement that they will no longer be running their free Edinburgh Fringe venue, Alice Saville remembers the invaluable spaces they created.
Amy Draper’s ‘These Trees are Made of Blood’ took years to move from initial seed of an idea to a full production. Here, she writes on why ideas need time to germinate.
Alice Saville chats to the writer of ‘An Octoroon’ about New York’s alt-theatre scene, reimagining historical plays, and the “weird echo chamber” of theatre criticism.
Ifeyinwa Frederick writes on why the theatre industry needs a break from its centuries-long love affair with all things Shakespeare.
A recent study showed that theatregoing in Asian communities is on the decline. Trina Haldar writes on why letting young audiences see themselves on stage is key.
In December, Exeunt asked for your help. Here’s how our Friends Scheme is helping us to be bigger, better and stronger – and why you should join.
“Would I be less creative if I was less mad? Aniqah Choudhri talks to theatremakers who explore mental illness on stage about why the ‘mad artist’ myth is so dangerous.
An uneasy critique of storytelling: Alice Saville on a “shifting, fitfully hilarious” revival of Martin Crimp’s play.
As 42nd Street continues to dazzle the West End, Alice Saville asks why Busby Berkeley’s legacy is still bulletproof.
Ten years after last seeing Tony Kushner’s epic play cycle (and writing a PhD thesis on it) Emily Garside writes on why going to the NT’s Angels in America feels like coming home.
Alice Saville responds to an influx of complaints regarding Exeunt’s review of the Royal Ballet’s Mayerling.
Pain and pleasure: Louise Orwin’s solo performance is a powerful, uneasy look at the trouble with sex positivity.
From 19th century revolutionary Paris to the Black Lives Matter movements: Nemo Martin explores how Victor Hugo’s story of protest is being reimagined by online fans.
Politics and pain: Nic Green’s performance is an artful exploration of rhetoric and deceit.