Last year, theatres made sweeping redundancies. As venues reopen, and roles start to be readvertised, Salome Wagaine argues that changes need to be made.
As theatres reopen, Adam Welsh thinks about how little has changed – and about the potential fpr digital theatre to signal a different future.
Theatres in England reopen in less than a week. Will the past year’s online experiments be forgotten? Fergus Morgan argues that they shouldn’t be.
Playwright Naomi Sheldon chats to Rosemary Waugh about her pandemic pregnancy, sex, and channelling emotional turbulence into action.
Maddy Costa writes about the non-hierarchical reading group that explores big questions about theatre, socialism and power structures.
Louise Jones answers the call of ZU-UK’s phonebox-based performance in her first piece as embedded critic at Compass, the Leeds-based festival of live art
Ali Pritchard explains how lockdown gave Newcastle’s Alphabetti Theatre time to reflect, and build a new model that works better for both artists and local communities.
The new artistic director of Northern Stage talks doomscrolling, digital theatre, and fighting to bring back the artists that theatre’s lost.
Laura Harris and James Rowson share some initial findings from research project Freelancers in the Dark, charting broken lines of communication, grief, solidarity and hope.
Exeunt marks its tenth birthday with a look back at its beginnings from co-Founding Editor Natasha Tripney.
If you’re starved of drama, Francesca Peschier’s here to show you the classic reality tv shows that will supply contrived plots, heroic journeys, and bloodthirsty thrills.
Astringent theatre wine, awkward interval conversations, besieged bladders…and all the things Exeunt’s writers would love to get annoyed by once more.
Exeunt’s writers look back on a year of livestreams, and the journey from despondency to hope.
Samuel Sims chats to front of house workers about why theatres need to change both their attitudes and their contracts.
As theatre in 2020 stumbles from crisis to crisis, critics are reaching for the stars – and, Fergus Morgan argues, that’s okay.