Following the announcement that Lyn Gardner’s position as Guardian theatre critic is being cut, Andy Field writes on why her role is too important to be lost.
Alice Saville considers questions of reputation and legacy in an industry that’s in love with its own history.
Andy Field writes on how encounters with the natural world inspired a new night-time performance, on as part of LIFT Festival 2018.
In Shakespeare’s birthday week, Hailey Bachrach argues that there’s nothing dull about recent reinventions of his work.
A desperate need for dialogue: Katherina Radeva writes on why she’s organising a day of ideas-sharing around questions of otherness and identity.
Exeunt’s writers pick some shows – from brave experiments to commercial mainstays – that they think deserved a better critical reception.
Tara Fatehi Irani writes on her year-long project, making 365 performance-installations which shared micro-histories from her family archive from Tehran.
Naomi Obeng reports back from National Student Drama Festival’s collective conversations on how to make spaces fairer, more accessible, and more representative.
Ahead of an open meeting on ‘The Value of Design’, eight designers at all career levels discuss the struggle for fair working conditions.
Five years ago, playwright Eve Leigh made a decision not to watch plays, movies and TV shows that involved violence against female bodies. She unravels her thoughts, in list form.
Ellie Dubois’s shows blur the line between circus and live art. She talks pushing at the limits, gender, and why circus needs more criticism.
Francesca Peschier explores how regional and working class accents are both underused and misused by theatre.
Hannah Greenstreet chats to Ellie Keel, producer of Alchymy – a unique Oxford-based festival that’s all about developing new theatre.
Exeunt’s writers get together for a cathartic collective airing of their long-harboured, but deeply petty theatre-related gripes.
Frey Kwa Hawking explores the slippery territory of defining a dramaturg’s role, and forging a practice in a world that requires both productions and people to be marketable.