A bitter draft: Alice Saville reluctantly reviews David Mamet’s Weinstein play.
Alice Saville writes on theatre’s uneasy relationship with trigger warnings, and the faultlines they reveal.
A room without a view: Alice Saville writes on the claustrophobic domesticity of Githa Sowerby’s play.
Immersive shows like Barzakh push their audiences to extremes. But can you really consent to an experience you know nothing about?
A destroyed room: Alice Saville writes on the dust-coated debates of Ibsen’s rarely staged play.
Into the woods: Alice Saville writes on an eerie staging of Arthur Miller’s thorny narrative of hysteria.
“To make one homogenous show is, to me, increasingly nonsensical”: Rachel Bagshaw and Tamar Saphra talk about making work which actively includes disabled and non-disabled audiences.
Compelling nastiness: Alice Saville writes on Bruce Norris’s study of a group home for convicted paedophiles.
Alice Saville writes on what ‘The Color Purple’ casting controversy says about theatre producers’ attitudes towards queer actors, and queer audiences.
A tear-stained rundown of all the ways in which the UK’s theatre scene will mark Britain’s (probable) parting of ways with the EU.
“THIS pie was SO perfect!” – Alice Saville responds to the hit musical, using real TripAdvisor reviews of American diners.
Mess, horror and queer celebration: here are Exeunt’s UK-wide picks for March in theatre and performance.
Staged magic: Alice Saville writes on Eve Leigh’s play, and its explorations of grief and artifice.
Alex Oates’ play about an autistic child has sparked a multi-layered conversation about disability and representation. Alice Saville writes on why it’s time for its makers to listen.
Alice Saville writes on ideas of relatability and representation in three Vault Festival shows.