“This is a social justice issue”: Maddy Costa talks to Naomi Alexander about community and participation as she relaunches Brighton People’s Theatre.
“I want it too much”: Kitty Drake writes on Channing Tatum’s West End stripshow/phenomenon, and what it says about female sexual hunger.
As Marie Kondo fever sets in, Paula Varjack explains how her new show The Cult of K*nzo explores the performativeness of shopping.
The author of ‘Everywoman’ at Vault Festival writes on her decision to remain anonymous, and on how gender influences ideas of what counts as a ‘universal’ story.
Tarik Elmoutawakil, creative producer at Brighton’s Marlborough Theatre, talks about creating a ‘space church’ for disabled, queer, trans and non-binary people of colour.
Malaprop Theatre’s approach mixes big ideas with bags of quirky warmth. They talk politics, Irish theatre, and collaborative working ahead of their stint at Vault.
Playwright James Graham’s Brexit telly drama was met with a storm of media fury. Here’s Fergus Morgan on what it says about our expectations of drama on TV.
Vault, Push Festival, and more mime than you can shake an (invisible) stick at: here’s Exeunt’s UK-wide picks for January in theatre.
From a strange seaside experience to meta Jane Austen, Exeunt’s writers pick their stand-out shows outside of London.
After #hotgate, Dr Kirsty Sedgman writes on the complex territory of gender and objectification in theatre, and why it’s time for “a more radical, ethical kind of thirst”.
Exeunt’s London writers choose the shows that they loved, fought for, and couldn’t stop talking about in 2018.
For every play that makes it to the stage, there are many more languishing under commission. Duncan Gates makes a case for more transparency in new writing for theatre.
As Brexit looms, a series of live art parties are creating space to explore multicultural LGBT+ experiences.
“The change is small but the difference is mighty” – J N Benjamin writes on how Misty was transformed in the hands of Arinzé Kene’s female understudy, Kibong Tanji.
James Varney interviews performance-maker Jackie Hagan about access and telling the stories of “real people who are having a hard time”