Figs in Wigs are back at the fringe this week. Here’s Rachel Porter on why being part of a non-hierarchical girl gang is the perfect way to survive Edinburgh.
As the dust settles after Edinburgh Fringe’s first week, here’s what Exeunt’s writers have seen and loved.
From samba-inspired workshops to dancing naked: Rachel Elderkin reviews a selection of the dance line up at Wilderness 2017.
Dance in the age of climate change: Diana Damian Martin discusses this year’s Ravnedans festival in Norway.
A performative preview: the members of Barrel Organ explore debt, friendship and grief ahead of their Edinburgh Fringe show.
Miriam Gillinson discovers some intriguing beginnings at The Yard’s festival of bold, untested new work.
Rachel Elderkin talks us through the dance shows being performed at this year’s Wilderness festival.
Exeunt’s review team sort through the chaos of this year’s Edinburgh line-up to present some lovingly themed recommendations.
At a festival that can feel like a celebration of youth, three shows are exploring old age. Kate Wyver talks to their creators about loneliness, dementia, and unexpected laughter.
Rachel Bagshaw talks to Rosemary Waugh about creating The Shape of Pain, an Edinburgh Fringe show based on her experiences, and made in collaboration with Chris Thorpe.
Diana Damian Martin writes on how Porto’s international theatre festival FITEI explores ideas of community, memory, and the past.
Laura Kressly writes about her fortnight at the Eugene O’Neill Theater Center’s development programme for critics.
Jackie Montague explores what three performances at Latitude say about how we relate to our heroes, our homes, and our own identities.
“Rater encore. Rater mieux”. Ella Parry-Davies explores how performances at 2017’s Avignon Festival make bold attempts to navigate contemporary politics.
Tea House Theatre sparked a Twitter storm after its job listing went viral. Here’s Lauren Mooney on its unpalatable message about undervalued, often female labour in the arts.