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.
Protest theatre: Alice Saville writes on an immersive show sparked by the 2014 Kiev Uprising.
Vault, Push Festival, and more mime than you can shake an (invisible) stick at: here’s Exeunt’s UK-wide picks for January in theatre.
The boy with the lyre: Alice Saville writes on Anais Mitchell’s infernal concept album-turned-musical.
A new British Council project will support UK bloggers to discover and write about international work.
Suspicious stains: Martin Crimp’s unsettling 1988 play picks away at a real estate-selling couple’s hypocrisy and greed.
“Phone rings, door chimes, in comes company!” – Alice Saville’s response to Marianne Elliott’s reimagining of Sondheim is structured around the show’s lyrics.
Casual cruelty: Martin McDonagh’s play mixes crude colonialist satire with the trappings of a family Christmas show.
A spreading bruise: Alice Saville writes on Lies Pauwels’ participatory exploration of dealing with emotional pain.
Punching up: Joy Wilkinson’s play is an exhilarating trip into an imagined world of Victorian women’s boxing.
As social media takes a starring role in 21st century theatre marketing, Alice Saville writes on the power and pitfalls of Twitter-era criticism.
A year on from #MeToo, Alice Saville looks at the theatre industry’s response – and argues it’s far from time to move on.
Perfumed sails: Sophie Okonedo shines in the NT’s swimmingly beautiful staging of Shakespeare’s prickly love story.
Desire is everything: Adena Jacobs’ staging of Strauss’s opera is full of ponytail-slick, sensuous, striking images.