“Why can’t I perform without the pressure to represent an entire culture or make a jaw-dropping statement on diversity?” Nicole Acquah writes on the difficulties of being politicised as a black performer.
As 42nd Street continues to dazzle the West End, Alice Saville asks why Busby Berkeley’s legacy is still bulletproof.
We pick the best new and returning shows to see over the next fortnight, based on our writers’ recommendations.
Ten years after last seeing Tony Kushner’s epic play cycle (and writing a PhD thesis on it) Emily Garside writes on why going to the NT’s Angels in America feels like coming home.
Alice Saville responds to an influx of complaints regarding Exeunt’s review of the Royal Ballet’s Mayerling.
Gillian Greer interviews the writer of ‘This Beautiful Future’ at The Yard about love, war, and karaoke.
In her Grief Series, Ellie Harrison explores mourning in a seven-part cycle of artworks. Here, she talks reinventing rituals, and how art can be therapeutic without being therapy.
From 19th century revolutionary Paris to the Black Lives Matter movements: Nemo Martin explores how Victor Hugo’s story of protest is being reimagined by online fans.
We pick the best new and returning shows to see this week, based on our writers’ recommendations.
Following the launch of The Bridge, a venture capital-funded space helmed by Nicholas Hytner, Alice Saville asks why London’s new theatres are looking to the past, not the future.
Shakespeare fans, rejoice! You can watch Cheek By Jowl’s inventive take on The Winter’s Tale for free in this livestream, hosted by Exeunt until 7th May.
Introducing Ifeyinwa Frederick and Aniqah Choudhri, the joint winners of our call-out for a new black or minority ethnic columnist.
“Shouldn’t more plays be activist?” Verity Healey explores how shows including E15, My Country and Denmarked intersect with real-life protest movements.
As yet another white man is hired to the most prestigious job in US theatre criticism, Exeunt’s New York writers ask when the conversation will really change.
“The people. Demand. The downfall. Of the Regime.” Sam Williams explores how journalist Paul Mason’s immersive performance imagines theatre as a laboratory for political action.