How can theatre accommodate neurodiversity? Maddy Costa explores how Art with Heart’s touring show ‘Declaration’ remagines relationships between artist, venue and audience.
The RSC are accepting BP sponsorship – while staging a play about the disastrous impact of climate change. Here’s Jess Worth on the campaign to make the RSC Fossil Free.
Following Forest Fringe’s announcement that they will no longer be running their free Edinburgh Fringe venue, Alice Saville remembers the invaluable spaces they created.
Amy Draper’s ‘These Trees are Made of Blood’ took years to move from initial seed of an idea to a full production. Here, she writes on why ideas need time to germinate.
A new report, Gender Counts, reveals stark statistics about the under-representation of women in Irish Theatre. Chris McCormack asks: What next?
“Who is torturing whom?” Natasha Tripney crafts a cut-up poem from the fever dream that is the 2017 Edinburgh Fringe programme.
Bridget Minamore chats to the JMK award-winning young director as ‘The Ugly One’ opens at Park Theatre.
Alice Saville chats to the writer of ‘An Octoroon’ about New York’s alt-theatre scene, reimagining historical plays, and the “weird echo chamber” of theatre criticism.
Ifeyinwa Frederick writes on why the theatre industry needs a break from its centuries-long love affair with all things Shakespeare.
Lee Anderson and Annegret Märten discover metatheatrics, total theatre and a fug of Ostalgie at Berlin’s fortnight-long festival of German theatre.
A recent study showed that theatregoing in Asian communities is on the decline. Trina Haldar writes on why letting young audiences see themselves on stage is key.
In December, Exeunt asked for your help. Here’s how our Friends Scheme is helping us to be bigger, better and stronger – and why you should join.
When reality’s a bit much…it’s time to take a trip. Here are some hypothetical shows from the wildest imaginings of Exeunt’s writers.
“Would I be less creative if I was less mad? Aniqah Choudhri talks to theatremakers who explore mental illness on stage about why the ‘mad artist’ myth is so dangerous.
“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.