A shattered treehouse: Alice Saville writes on the furious emotional intensity of Jason Robert Brown’s story of heartbreak, performed by two actor-musicians.
Queer longings: Gemma Lawrence’s play charts a lockdown romance forged at a distance.
As the UK’s leaders use the language of business to justify further devastation to theatre, Alice Saville argues that they’re looking for value in the wrong places.
Essential work: Alice Saville explores how Nathan Ellis’s interactive play works better from home.
Alice Saville writes on surviving through lockdown, and learning to love livestreamed theatre.
As Equity drafts a new code of conduct for critics, Alice Saville writes about racism and reviewing.
Alice Saville collates some arguments for urgently funding theatres now, so that they’ll still be there for us in whatever world awaits us in 2021.
A new initiative is holding theatres accountable on Black representation. Here’s more info, plus thoughts on Exeunt’s aims for the future.
We could have celebrity monologues in half-empty auditoriums. Or, we could look to the experimental theatremakers who’ve made space for new forms.
Alice Saville surveys the freelance theatre workers who aren’t covered by government support, and have been left without income overnight.
Alice Saville writes on how coronavirus offers theatre an opportunity to rethink what ‘being in a room together’ really means.
Alice Saville makes a big, huge attempt to appreciate the joys of the Julia Roberts flick-turned-heteronormative musical fantasy.
With both ‘Far Away’ and ‘A Number’ on in London, now’s your moment to develop a Caryl Churchill obsession. Alice Saville writes on two plays that are designed to mesmerise.
Mirror, mirror: Alice Saville reflects on Sergio Blanco’s cool look at narcissism and murderous urges.
“relentlessly forwards forwards forwards”: Alice Saville writes on Alistair McDowall’s warpspeed cradle-to-grave monologue, as performed by Kate Flynn.