Playwright Tom Wells chats to Frey Kwa Hawking about gay representation in theatre, making work outside London, and the power of panto.
At the Edinburgh fringe’s midpoint, here are the shows that Exeunt’s writers think you should see.
The fringe has begun, and Exeunt’s writers have a few thoughts on what you should go and see.
Taking over an Edinburgh flat, Power Play are making space for female-led theatre at the fringe. Here’s Eve Allin on her visit.
Another festival of failure is upon us: Fergus Morgan is here to get you in the mood for the Edinburgh Fringe with a healthy dose of misery.
The impressive architecture of the UK’s theatres is often a legacy of stark class divides. Here, Amber Massie-Blomfield writes on the buildings that really are for everyone.
Andy Field writes on sleep-deprivation at the Edinburgh fringe, and the challenges of making new spaces in a world where time is commodified.
New Bryony Kimmings, Middle Child, Theatre Ad Infinitum and more: Rose McPherson explores the world-building joys of this year’s festival.
Ontroerend Goed artistic director Alexander Devriendt talks interactive theatre, gaming, and the death of capitalism.
Exeunt’s writers process their thoughts on Hannah Gadsby’s fiercely emotive farewell to comedy, currently on Netflix.
“Swanky senior citizens, elegant elders & glamorous golden girls” are all invited to daytime cabaret The Posh Club. Here’s Freddie Machin on why it’s so vital.
It’s nearly here: the season of mists and millions of shows. So Exeunt’s writers have chosen a few things they’re looking forward to.
Francesca Peschier interviews the duo behind Bechdel Theatre about industry inequality, representation, and sexy, sexy data.
Playwright Rabiah Hussain writes on why it’s time theatres did more to reach out from young people from working class and minority backgrounds.
Alice Saville writes on Kiss Me Kate, and her complex relationship with musical theatre’s problematic back catalogue.