After the furore over a very public dialogue about the New York Times review of Big River, Exeunt’s writers debate whether and how theatremakers should respond to reviews.
Joan is a fiercely brilliant, drag king take on medieval history. Alice Saville chats to its creator Lucy J. Skilbeck about queer politics, Milk Presents, and why theatre should follow drag’s lead.
Exeunt is recruiting a paid black or minority ethnic columnist, to help widen the conversation around theatre. Read on for more details.
There’s a long history of same-sex romance between women being exploited as a male fantasy. Naomi Westerman talks about rejecting the male gaze, and her new play Puppy.
As Roundelay opens at the Southwark Playhouse, playwright Sonja Linden talks to Rosemary Waugh about why sex and relationships involving older people are rarely discussed.
Scottee’s new show Bravado is an unsparing look at his relationship with masculinity. Here, he looks at confessional performance, self care, and asks “Must all working class artists bleed for their supper?”
A New York Times review sparked fury for critiquing Mark Twain’s racial politics. Here, Nicole Serratore steps into the critical dispute over Big River and representation in theatre.
As cinema, TV broadcasts and online streaming offer more and more ways to watch performance, Alice Saville asks why the theatre world is so slow to embrace the potential of film.
Busty Beatz, MD of Hot Brown Honey, is on residency at Wellcome Collection as part of The Sick Of The Fringe. She talks to Maddy Costa about making the personal political, and confronting Wellcome’s colonialism.
“Olivier, Hall, and Nunn had it easy. Norris has it all to do.” As Rufus Norris comes under attack, Fergus Morgan explores the troublesome business of theatre and nation building.
The novelist and critic John Berger died at the beginning of this year. Here, Richard Turney explores his work’s “porous and fertile border” with the theatre world, and his influence on Chris Goode and Simon McBurney.
“At any other time it would have been enough to just roll one’s eyes and move on. Not anymore.” Dramaturg and academic Duška Radosavljević responds to David Hare’s tirade against European-influenced director’s theatre.
After two decades of writing about performance, Maddy Costa is taking a frightening leap into writing for the stage. She explains why Crew For Calais’s work inspired her to tell the stories of last year’s chaotic refugee camp clearances.
Playwright and passionate Doctor Who fan Tim Foley argues that it’s time that sci-fi in theatre came of age, ahead of his post-Brexit dystopia Astronauts of Hartlepool.
Josh Coates and Emma Geraghty of Powder Keg talk to James Varney about Morale is High (Since We Gave Up Hope) and making theatre at a time of political uncertainty.