Maddy Costa writes about the non-hierarchical reading group that explores big questions about theatre, socialism and power structures.

Louise Jones answers the call of ZU-UK’s phonebox-based performance in her first piece as embedded critic at Compass, the Leeds-based festival of live art

Ali Pritchard explains how lockdown gave Newcastle’s Alphabetti Theatre time to reflect, and build a new model that works better for both artists and local communities.

Laura Harris and James Rowson share some initial findings from research project Freelancers in the Dark, charting broken lines of communication, grief, solidarity and hope.

Exeunt marks its tenth birthday with a look back at its beginnings from co-Founding Editor Natasha Tripney.

If you’re starved of drama, Francesca Peschier’s here to show you the classic reality tv shows that will supply contrived plots, heroic journeys, and bloodthirsty thrills.

Astringent theatre wine, awkward interval conversations, besieged bladders…and all the things Exeunt’s writers would love to get annoyed by once more.

Exeunt’s writers look back on a year of livestreams, and the journey from despondency to hope.

Samuel Sims chats to front of house workers about why theatres need to change both their attitudes and their contracts.

As theatre in 2020 stumbles from crisis to crisis, critics are reaching for the stars – and, Fergus Morgan argues, that’s okay.

Wambui Hardcastle interviews the founder of Artistic Directors of the Future about her mission to change who gets to lead the UK’s theatre buildings and companies.

‘Liveness’ is central to theatre’s identity. But how can you create it online? And do you need to? Alice Saville explores the tangled set of questions facing 2020’s artists and producers.

Maddy Costa turns her interview with Encounter’s director Jen Malarkey into an interactive twine story, ahead of Friday’s stream of The Kids Are Alright.