When we have sufficiently tortured each other, at the National Theatre

Penetrating analysis: Hannah Greenstreet writes on Martin Crimp and Katie Mitchell's phallocentric new exploration of gender roles.

Published Today


Why I chose anonymity

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.

Published Yesterday


Review: The Dark at the Ustinov, Bath

A rich tapestry: Lilith Wozniak reviews Nick Makoha's autobiographical play about stories of exile and displacement.

22 January


Review: Cuts of the Cloth at Push Festival, Manchester

'Its polemic is potent': James Varney writes on a science fiction performance about structural Islamophobia by Outside the Frame Arts.

22 January


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NOW 19: 24 Italian Songs and Arias; Diana is Dead, at the Yard Theatre

'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.

21 January


Review: no + politics or What We Want/Glasgow Edition at CCA, Glasgow

'Like watching Trip Advisor glitching': Lorna Irvine reviews German dance-theatre company Tatraum Projekte Schmidt's piece on sharing space in contemporary Europe.

19 January


Colin Hambrook

Brownton Abbey

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.

Rosemary Waugh

Malaprop Theatre: “We didn’t want to make a show that would be One More Thing To Feel Shit About”

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.

Fergus Morgan

James Graham and The Uncivil War

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.

Alice Saville

Exeunt Recommends: January 2019

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.

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Review: The Unreturning at Theatre Royal Stratford East

'Beautifully considered visual language': Rosemary Waugh writes on Anna Jordan's new play, which follows three soldiers returning from different wars.

19 January


Review: Crimes on the Nile at The Ustinov, Bath

A canny comedy crime caper: Ben Kulvichit reviews New Old Friend's latest addition to their popular touring murder mystery series.

19 January


Review: A Night with Thick & Tight

The performers are 'like cultured magpies, drawing together a soundtrack of found media and famous scenes': Ka Bradley writes on dance duo Thick & Tight's triple bill.

18 January


Review: Stop and Search at Arcola Theatre

'Moments of compassion and trust": Frey Kwa Hawking writes on Gabriel Gbadamosi's wide-ranging, but opaque new play.

16 January

More Features

23 December
Exeunt Staff

Exeunt’s Most Memorable UK-wide Theatre 2018

From a strange seaside experience to meta Jane Austen, Exeunt's writers pick their stand-out shows outside of London.

19 December
Dr Kirsty Sedgman

How can we talk about ‘thirst’ in theatre?

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".

18 December
Exeunt Staff

Exeunt’s Favourite London Shows of 2018

Exeunt's London writers choose the shows that they loved, fought for, and couldn't stop talking about in 2018.

12 December
Duncan Gates

An Open(ness) Letter on Transparency

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.