Jo Clifford’s ecstatic show ‘Jesus, Queen of Heaven’ brought together christian imagery and trans politics. Here, she writes about the transformative ideas she discovered while translating ‘The House of Bernarda Alba’ for Manchester Royal Exchange and Graeae.
Features
23 January 2017
Features • Q&A and Interviews
Carly Wijs: “It’s very important that we have children that can think for themselves”
By Rosemary Waugh
As US/Them opens at the National Theatre, writer and director Carly Wijs talks to Rosemary Waugh about sex, censorship and making theatre for children.
23 January 2017
Features
Vault Festival 2017: Star-gazing
By Alice Saville
Vault Festival opens this week. Here’s Vault director Tim Wilson on why this year’s shows are looking to the future, with a dedicated strand of space-themed work.
16 January 2017
Features
Steakhouse Live Writing: Reflective Responses
By Alice Saville
Steakhouse Live’s Longer, Wetter, Faster, Better is a festival of new radical and queer performance art. As part of a pilot writing project organised by academics Bojana Jankovic and Diana Damian Martin, three writers reflect on the ideas raised by the anarchy, glitter and politics of its performances.
12 January 2017
Features
Katherine Soper: “If people don’t know you can’t make a living, it goes unnoticed and untalked about.”
By Gillian Greer
Gillian Greer interviews the Bruntwood Prize-winning playwright Katherine Soper about the difficulties of surviving as a young writer, zero hours contracts, and the media response that characterised her as a ‘perfume seller’.
9 January 2017
Features
A dialogue on theatre criticism in the digital age
By Alice Saville
Last month, debates on online theatre criticism raged after incendiary pieces by Michael Billington and Matt Trueman. In their wake, critics and academics Duška Radosavljević, Mark Fisher and Karen Fricker hold an international conversation about theatre, democracy and the role of criticality.
3 January 2017
Features
Urban Heat: Maribor
By Andy Field
What do we do if the world doesn’t end? Andy Field, co-director of Forest Fringe, considers history and community in Maribor. This is the last in a series of dispatches from Urban Heat – a project exploring the future of theatre’s engagement with urban space and communities.
31 December 2016
Features
Exeunt New York’s Most Memorable Shows of 2016
By Exeunt Staff
The New York critics name the 2016 shows that will linger in their minds well into 2017.
27 December 2016
Features
Exeunt’s Top Ten London Shows of 2016
By Exeunt Staff
Icke, Rice, light-up trainers and malfunctioning spaceships: we’ve seen it all this year. Here are Exeunt’s favourite London shows of 2016, as chosen by collective vote.
22 December 2016
Features
Exeunt’s Best Regional Theatre 2016
By Exeunt Staff
From fetish pageant Wagner to amateur folk musicians, Exeunt’s critics nominate their favourite regional shows of 2016 in celebration of theatre staged outside of London.
20 December 2016
Features
Unfix: Rebirth!
By Lorna Irvine
An antidote to the Christmas shows: Lorna Irvine talks us through Unfix Festival: Rebirth at the CCA in Glasgow.
14 December 2016
Features
Jay Miller: “We don’t trust words”
By Alice Saville
The artistic director of The Yard mixes experimental theatre and club nights. He explains how this helps him create and programme work with music at its heart.
12 December 2016
Features
After Orlando: International Rapid Response Theatre
By Martha Wade Steketee
NoPassport Theatre Alliance and Missing Bolts Productions present their “theatre action” After Orlando as an outlet for rage and grief after the Pulse night club shootings.
6 December 2016
Features
Why we need new models for funding theatre criticism
By Alice Saville
As Exeunt launches its Friends Scheme, Alice Saville discusses why it’s time to imagine new ways of funding theatre criticism.
5 December 2016
Features
“Newness is old-fashioned!” – Battle at the Volksbühne
By Alice Saville
Berlin’s Volksbühne Theatre has been in turmoil since it announced that its new artistic director would be Chris Dercon, outgoing director of London’s Tate Modern. Samantha Jayne Williams explores the controversy, and what it says about theatre, modernity, and narratives of resistance.