As Waterloo’s ever-growing arts festival returns for 2018, Alice Saville asks its co-director Mat Burt what it offers young companies.
Four Vault Festival shows are combining belly laughs with explorations of life with mental health conditions like anxiety and depression. Francesca Peschier chats to some of their creators.
As ‘The Believers Are But Brothers’ opens at Bush Theatre, its creator talks radicalisation, Prevent and making work outside London.
Today, Exeter’s Bike Shed Theatre announces that it will close at the end of March. Here’s David Byrne on what makes the venue so magical.
Ahead of her performance ‘For a Black Girl’, Nicole Acquah explores ideas of emotional safety and self-care in the rehearsal room.
Playwright and youth worker Nathan Lucky Wood asks why work being made with ‘hard-to-reach’ groups is so closely focused around their most difficult experiences
Ahead of her show ‘So Many Reasons’ at feminist festival Calm Down Dear, the writer and performer talks mother-daughter relationships, bypassing gatekeepers, and how to ‘jolt’ an audience.
Alice Saville explores why it’s time to stop talking about ‘theatre etiquette’, and to start thinking about the behaviour of all sections of the audience.
We polled our London writers on their top ten shows of 2017 – here are the results.
Serving as your annual reminder of all the brilliant theatre happening around the UK and Ireland, Exeunt’s critics select their favourite productions from outside of London in 2017.
Post-coital laziness, ragtime romps, and a deathly birthday party: here’s Exeunt’s dance critics on their favourite shows of 2017.
Get your mitts on some Exeunt zines from Christmases past, present and future – and support some really worthwhile festive causes.
The wait is over: Exeunt’s writers announce the winners of some highly prestigious (if unconventional) accolades.
Hannah Greenstreet sits in on rehearsals for Forward Arena’s queer, time-hopping epic.
“Hard-to-reach audiences are not hard to reach if you speak their language” – Ifeyinwa Frederick argues for a new direction for theatre.