Penetrating analysis: Hannah Greenstreet writes on Martin Crimp and Katie Mitchell's phallocentric new exploration of gender roles.
'Its polemic is potent': James Varney writes on a science fiction performance about structural Islamophobia by Outside the Frame Arts.
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'Brutally sincere': Ava Wong Davies writes on the Yard's double bill of work by Brian Lobel and FK Alexander, which explore failure and Princess Diana.
'Like watching Trip Advisor glitching': Lorna Irvine reviews German dance-theatre company Tatraum Projekte Schmidt's piece on sharing space in contemporary Europe.
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.
'Beautifully considered visual language': Rosemary Waugh writes on Anna Jordan's new play, which follows three soldiers returning from different wars.
From a strange seaside experience to meta Jane Austen, Exeunt's writers pick their stand-out shows outside of London.
Dr Kirsty Sedgman
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.