Natasha Tripney finds destruction, renewal, and numbing violence at Belgrade’s festival of avant garde theatre from across Europe.
Researcher and critic Lisa Moravec explores ideas of bodily dressage in Peter Stamer’s and Frank Willens’s In the Penal Colony and Willen’s group dance Radiant Optimism.
Alice Saville writes on 1809’s Old Price Riots, and what they can teach commercial theatre producers over two centuries later.
“To react and respond is just human”: Maddy Costa writes on how audiences are silenced, and the complex history of ideas of ‘civilised’ behaviour.
In this interview with Ben Kulvichit, the writer-director duo discuss their show Wild Swimming, symbiosis, and why emerging artists need to make mistakes.
Ravi Ghosh writes on Rob Icke’s dive into minority identity, and why audiences need to be pushed towards self-examination, not self-congratulation.
Theatre director Adam Lenson writes on the Falsettos casting controversy, and why the Jewish community needs to be involved in telling its own stories.
Francesca Peschier writes on the shows bringing ecstatic moments and authentic queer people of colour’s experiences to the Edinburgh fringe.
A dialogue review of Edinburgh fringe’s sights, shows and smells by Joakim (aged five) and Katarina (aged three-and-a-half).
Exeunt is proudly flying the flag for longform criticism at the fringe. Too busy to read it all? Here’s a handy digest of the shows our writers love.
Emerging directors leap through ever-shifting hoops for a chance to work at the UK’s biggest theatres. Holly Williams asks: is the system working?
Alice Saville sorts the (pink) sheep from the GOATs in her write-up of 2019’s frenetic Latitude festival.
Spreadsheets at the ready: Exeunt’s fringe recommendations are here, thoughtfully themed for your reading pleasure.
Exeunt’s writers have some unashamedly petty bones to pick with theatre world’s biggest hits, past and present.
Alice Saville discovers a fringe arts explosion at Iceland’s new festival of grassroots performance.