“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.
After the runaway success of Iphigenia in Splott, Rachel O’Riordan is directing Gary Owen’s new play Killology. She talks about her work as artistic director of the Sherman, and how theatre “opens doors to Wales”.
Playwright and director Titas Halder has quickly made a name for himself for his dark, muddy theatrical worlds. Amelia Forsbrook interviews him about music, foxes, and his new play ‘Escape the Scaffold’
“I find myself getting up…and saying my piece”. Tracey Sinclair writes on her unexpectedly personal response to ‘Working Class Dinner Party’, hosted by performance artists Scottee, Selina Thompson and Bryony Kimmings.
More than ever, we need mainstream voices like Lyn Gardner to champion forward-looking, experimental, and truly national theatre. Please sign and share our petition to The Guardian.
From oil sponsorship of the arts to ethical pensions: Daniel Perks attends an Energising Culture seminar to learn more about how arts organisations are looking to save the planet.
After the furore over a very public dialogue about the New York Times review of Big River, Exeunt’s writers debate whether and how theatremakers should respond to reviews.
Joan is a fiercely brilliant, drag king take on medieval history. Alice Saville chats to its creator Lucy J. Skilbeck about queer politics, Milk Presents, and why theatre should follow drag’s lead.
Exeunt is recruiting a paid black or minority ethnic columnist, to help widen the conversation around theatre. Read on for more details.
There’s a long history of same-sex romance between women being exploited as a male fantasy. Naomi Westerman talks about rejecting the male gaze, and her new play Puppy.
As Roundelay opens at the Southwark Playhouse, playwright Sonja Linden talks to Rosemary Waugh about why sex and relationships involving older people are rarely discussed.
Scottee’s new show Bravado is an unsparing look at his relationship with masculinity. Here, he looks at confessional performance, self care, and asks “Must all working class artists bleed for their supper?”
A New York Times review sparked fury for critiquing Mark Twain’s racial politics. Here, Nicole Serratore steps into the critical dispute over Big River and representation in theatre.
As cinema, TV broadcasts and online streaming offer more and more ways to watch performance, Alice Saville asks why the theatre world is so slow to embrace the potential of film.
Busty Beatz, MD of Hot Brown Honey, is on residency at Wellcome Collection as part of The Sick Of The Fringe. She talks to Maddy Costa about making the personal political, and confronting Wellcome’s colonialism.