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“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.
Following the launch of The Bridge, a venture capital-funded space helmed by Nicholas Hytner, Alice Saville asks why London’s new theatres are looking to the past, not the future.
Edward Albee’s play is “a wonderfully complex exploration of the boundaries of sexual freedom”.
A muddled adaptation of Leonora’s surrealist novel in Peckham’s new theatre space.
‘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’.
Nina Segal’s play about violence shows how the internet turns us all into our own worst nightmares.
“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.