Selina Thompson lists and itemises the performances to come, once lockdown is over.
“I’m learning a culture and a country through its theatre”: Natasha Tripney writes on her enriching encounters with online performance.
Exeunt’s writers pen micro-reviews of the tone-deaf, delightful, or dazzlingly weird video art created by celebrities under lockdown.
Farah Najib reflects on the impact of school closures on kids, and on what theatres can do to reach children in lockdown.
The discussion concludes with an exploration of aesthetics and set design in European theatre; and questions about what it will take for the UK to change.
The conversation continues, as a group of directors, dramaturgs and critics discuss how European theatre practitioners approach text.
Directors, dramaturgs and critics discuss how the European repertory model empowers actors and influences the work that gets made.
Exeunt writers talk about the theatre-related books that they’ve been turning to for comfort, inspiration and new ideas.
Alice Saville writes on how coronavirus offers theatre an opportunity to rethink what ‘being in a room together’ really means.
Jason Crouch walks you through some of the potential issues and shining opportunities involved in streaming performances.
An evolving collection of advice, resources and opportunities for people who work in theatre and are affected by coronavirus.
After cis actors were cast in trans roles in ‘Breakfast on Pluto’ and ‘Bring it On’, Robin Craig asks why theatres keep failing queer audiences.
Hailey Bachrach spots a trend: female characters breaking the fourth wall to rail against their limited options.
With both ‘Far Away’ and ‘A Number’ on in London, now’s your moment to develop a Caryl Churchill obsession. Alice Saville writes on two plays that are designed to mesmerise.
Naomi Obeng assembles a group of artists, critics and academics to respond to Yolanda Bonnell’s request, and the Guardian article that followed.