Maddy Costa talks to alternative cabaret star Le Gateau Chocolat about puncturing drag stereotypes, making work about depression, and surviving in a world where “We have to keep fighting for the things and the values that we hold dear.”
Features
27 March 2017
Features
Where are the voices exploring working class experiences?
By Alice Saville
“There’s a huge culture of people from working class backgrounds feeling inadequate within the arts.” Catherine Hoffman explains how shame keeps people powerless, and how her performance as ‘Stench Wench’ comes clean about class.
23 March 2017
Features • Q&A and Interviews
Rachel O’Riordan: “I would hate to be directing another one woman show by Gary right now!”
By Rosemary Waugh
After the runaway success of Iphigenia in Splott, Rachel O’Riordan is directing Gary Owen’s new play Killology. She talks about her work as artistic director of the Sherman, and how theatre “opens doors to Wales”.
22 March 2017
Features
Titas Halder: “I want the audience to be in the fucking swamp”
By Amelia Forsbrook
Playwright and director Titas Halder has quickly made a name for himself for his dark, muddy theatrical worlds. Amelia Forsbrook interviews him about music, foxes, and his new play ‘Escape the Scaffold’
20 March 2017
Features
Working Class Dinner Party
By Tracey Sinclair
“I find myself getting up…and saying my piece”. Tracey Sinclair writes on her unexpectedly personal response to ‘Working Class Dinner Party’, hosted by performance artists Scottee, Selina Thompson and Bryony Kimmings.
15 March 2017
Features
Petition: Save Lyn Gardner’s Guardian Stage blog
By Exeunt Staff
More than ever, we need mainstream voices like Lyn Gardner to champion forward-looking, experimental, and truly national theatre. Please sign and share our petition to The Guardian.
14 March 2017
Features
How arts organisations are fighting climate change
By Daniel Perks
From oil sponsorship of the arts to ethical pensions: Daniel Perks attends an Energising Culture seminar to learn more about how arts organisations are looking to save the planet.
9 March 2017
Features
Dialogue: Should Theatremakers Respond to Reviews?
By Exeunt Staff
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.
8 March 2017
Features
Lucy J. Skilbeck: “Gender is farcical.”
By Alice Saville
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.
6 March 2017
Features
Opportunity: Columnist
By Exeunt Staff
Exeunt is recruiting a paid black or minority ethnic columnist, to help widen the conversation around theatre. Read on for more details.
23 February 2017
Features
Queer women on stage: Representation v. exploitation
By Alice Saville
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.
22 February 2017
Features • Q&A and Interviews
Sonja Linden: “I want to challenge our audience to rethink attitudes to older people”
By Rosemary Waugh
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.
20 February 2017
Features
Picking My Scabs for Your Entertainment
By Alice Saville
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?”
16 February 2017
Features
A Battle for Contextual Criticism
By Nicole Serratore
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.
13 February 2017
Features
Why theatre needs to love film, not fear it
By Alice Saville
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.