This week, there’s an outpouring of new work on trans experiences. But with the same people in charge, is change really in the air?
Shadowy and taut: Alice Saville reviews Dominic Cooke’s magical revival of Sondheim’s classic musical.
A week after the end of the Edinburgh Fringe, Alice Saville trudges through its debris to explore what the festival leaves behind.
A Rowling riff: Thomas Eccleshare’s play is a problematic story of an author who’s not all she seems.
As the feverish final days of the Edinburgh Fringe approach, here’s Exeunt’s writers on what you should see.
Let’s celebrate: the debut show from Emergency Chorus is a gawky, joyful evocation of the present moment.
A metatheatrical unpicking of race and queerness: Eve Allin on an “intimidatingly clever” love story.
As the dust settles after Edinburgh Fringe’s first week, here’s what Exeunt’s writers have seen and loved.
Circus as Angela Carter imagined it: a dazzling evocation of Victorian entertainments.
Suitable for lactose intolerances: Dylan Coburn Gray’s new romcom about online dating is sharp, satisfying and utterly cheese free.
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.