Francesca Peschier dives into Vault Festival to find shows that explore girlhood, “like cutting through life with blunted scissors”.
Playwright Luke Barnes writes on what he’s learned from developing new play ‘The Jumper Factory’ in collaboration with men from Wandsworth prison.
Alex Oates’ play about an autistic child has sparked a multi-layered conversation about disability and representation. Alice Saville writes on why it’s time for its makers to listen.
Sleepwalk Collective’s Sammy Metcalfe writes on the impact of Brexit on the company, and why they’re throwing a festival of work in Spain.
Alice Saville writes on ideas of relatability and representation in three Vault Festival shows.
“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”.