‘Anxious behaviour’: Crystal Bennes reviews a solo show based on the migratory instincts of the marsh warbler.
Crystal Bennes writes on a bilingual play that explores ideas of independence, identity and duality in Québec.
Natasha Tripney writes on the time-bending, memory-layering properties of returning to Edinburgh for the festival fringe, year after year.
Emotional disconnection: Lilith Wozniak writes on Katie Mitchell and Alice Birch’s unsettling retelling of a story of a sexual fantasy.
Double act: Danielle Ward’s debut play follows two female comedians in an industry that pits women against each other.
Lauren Mooney reviews Katy Dye’s debut show about ‘a cultural sexualisation of youth and innocence.’
Life-saving warmth: Lauren Mooney on Tom Wells’ heartfelt tale of teenagers and sychronised swimming.
As the fringe rumbles to a close, here are the shows that Exeunt’s writers wouldn’t want you to forget.
“I think I’m going to be OK actually,”: Tom Moyser review Shit-faced Shakespeare’s first attempt at tragedy.
His speech hits and hits and hits its mark: Tom Moyser reviews Sean Mahoney’s spoken word performance.
Take the quiz! Annegret Marten reviews People Show’s new work about fake news and unreality.
A surprising encounter: Rosemary Waugh writes on Cha Hyun Suk’s play.
Frustrating and mesmerising: Ben Kulvichit reviews a powerful physical study of uniformity and movement.
Is there digital life after death?: Brendan Macdonald’s review of Chris Goode’s performance takes the form of a Twitter feed.
Striking images: Crystal Bennes compares two works by Polish company Teatr Biuro Podrozy.