Swiss theatre director Milo Rau’s working methods let members of the public into the rehearsal room. Here, he tells Verity Healey why “community theatre IS theatre”.
A year on from #MeToo, Alice Saville looks at the theatre industry’s response – and argues it’s far from time to move on.
Maddy Costa conducts an email dialogue with Annie Siddons about her new show Dennis of Penge, a triumphant narrative of addiction, recovery, and fighting the PIP system.
Working class people are hugely underrepresented in theatre at all levels. Adam Hughes argues that it’s time for the industry to dig deeper.
Gecko’s Amit Lahav writes on his relationship with the late, visionary choreographer, who created “an alternative version of the world, every second of the day, on and off stage”.
For your entertainment, three Exeunt writers reveal the hidden meanings behind the shorthands that theatre critics fall back on.
Fergus Morgan writes on the Kiln’s controversial rebrand, and the message the backlash against it sends.
Alex Fernandes writes on the unique perspective you get from watching the same show over – and over – and over again.
Annegret Marten argues that it’s time for the theatre industry to shift its attitude to environmental reform.
The author of ‘Dance Nation’ talks teen experience, experimenting with form, and what makes New York’s playwriting scene special.
The UK’s theatres are starting a new term with some huge openings, and we’re taking notes. Here’s what to see.
Natasha Tripney writes on the time-bending, memory-layering properties of returning to Edinburgh for the festival fringe, year after year.
As the fringe rumbles to a close, here are the shows that Exeunt’s writers wouldn’t want you to forget.
Your number’s up: take a spin on Ben Kulvichit and Lilith Wozniak’s game-form write-up of the live art festival of chance.
Duška Radosavljević writes a childs’ eye sketch of some of the kids’ shows of the 2018 Edinburgh fringe.