What Girls Are Made Of looks back on a teenage brush with stardom with adult wisdom and a 90s soundtrack.
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Taking over an Edinburgh flat, Power Play are making space for female-led theatre at the fringe. Here's Eve Allin on her visit.
Another festival of failure is upon us: Fergus Morgan is here to get you in the mood for the Edinburgh Fringe with a healthy dose of misery.
The impressive architecture of the UK's theatres is often a legacy of stark class divides. Here, Amber Massie-Blomfield writes on the buildings that really are for everyone.
Andy Field writes on sleep-deprivation at the Edinburgh fringe, and the challenges of making new spaces in a world where time is commodified.
Visual richness: Hannah Greenstreet writes on the images of Breach Theatre's show, which dramatises the story of baroque painter Artemisia Gentileschi.
Pickle Jar is a one-woman show about rape culture, grief, and misplaced guilt.
Simon Longman's new play highlights the cyclical bleakness of village life.
New Bryony Kimmings, Middle Child, Theatre Ad Infinitum and more: Rose McPherson explores the world-building joys of this year's festival.
Ontroerend Goed artistic director Alexander Devriendt talks interactive theatre, gaming, and the death of capitalism.
Exeunt's writers process their thoughts on Hannah Gadsby's fiercely emotive farewell to comedy, currently on Netflix.
"Swanky senior citizens, elegant elders & glamorous golden girls" are all invited to daytime cabaret The Posh Club. Here's Freddie Machin on why it's so vital.