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Reclaiming a poet: Rosemary Waugh reviews Morgan Lloyd Malcolm's new play about Emilia Bassano.
The post Review: Emilia at Shakespeare’s Globe appeared first on Exeunt Magazine.
Fiona Laird’s production of Shakespeare’s playful revenge comedy is less Merry Wives and more Footballers’ Wives. Set in Windsor-by-way-of-Essex, the public shaming
Tom’s a young actor desperate to stick with his dream career despite regularly working for less than minimum wage and having to
Get “Lockie” back on track! Welcome to the fictional Lockhaven Port, based on a typical corner of small-town Scotland largely forgotten by
Crescendos are a familiar part of classical music composition: the slow and steady climb to the earth-moving finale. Circa’s new show for
Pepper’s Ghost is a 19th-century illusionary trick created by the strategic positioning of mirrors so that an image appears seemingly inexplicably where
“Be nice to people who work in customer service” is just one of the messages in Ladykiller, a very funny and refreshingly
Taylor Swift will help us defeat the fascists. Or at least it seems that way after seeing A Good Enough Girl? at
Lydia doesn’t make costumes anymore. Now she makes clothes. ThisEgg’s four-women show is based on the sexual assault at gunpoint of clothing
Silence, breathing: Rosemary Waugh reviews Ima Iduozee at the Edinburgh Fringe.
The post Edinburgh Review: This is the Title at Dance Base appeared first on Exeunt Magazine.
Ivor B. Gurney was born in 1890 and joined the Royal College of Music in 1911. Like his fellow Gloucestershire-native, Laurie Lee,
It’s 1920s London, but the interwar world of Incognito’s Tobacco Road is less interested in flappers and gin fizz, and more in
When shall we three meet again? According to Sisterhood by Jolie Booth, at any point in history. This play weaves together the
Claim, revel, destroy, subvert, love: Rosemary Waugh reviews Samira Elagoz's verbatim show about rape and men's reactions to her.
The post Edinburgh Review: Cock, Cock… Who’s There? …
10, 12, 14, 16… 10, 12, 14, 16… Yasmin (Amy Doyle) like to count things. Or rather, the voice in her head
Hastings, 2018, and three glitter-covered women (Rosalind Hoy, Florence O’Mahony and Fleur Rooth) wash up on the beach. “Oi oi!” shouts a
Friendship and doodling: Rosemary Waugh reviews Druid Theatre's staging of Beckett at the Edinburgh International Festival.
The post Edinburgh Review: Waiting for Godot at the Edinburgh Lyce…
Just your average guy... until he's not: Rosemary Waugh reviews Claire van Kampen's Othello.
The post Review: Othello at Shakespeare’s Globe appeared first on Exeunt Magazine.
American dreaming: Rosemary Waugh reviews the story of the Lehman brothers.
The post Review: The Lehman Trilogy at the National Theatre appeared first on Exeunt Magazine.
Cloak and danger: Rosemary Waugh review Opera Holland Park's revival of Mascagni's version of the Lady Godiva myth.
The post Review: Isabeau at Opera Holland Park appeared first on Exeunt Ma…
Laura Wade’s most famous play to date is Posh. In it she peeled back layers of inherited wealth and privilege to reveal
Shake a leg: Rosemary Waugh reviews Blanche McIntyre's The Winter's Tale at Shakespeare's Globe.
The post Review: The Winter’s Tale at Shakespeare’s Globe appeared first on Exeunt Magazi…
Outdoor Shakespeare in the summer months is a warm and fuzzy British tradition like Wimbledon, Pimm’s and complaining about the weather. Shakespeare
Outdoorsy types: Rosemary Waugh reviews the ENO's performance of Britten's opera.
The post Review: The Turn of the Screw at Regent’s Park Open Air Theatre appeared first on Exeunt Magazine.
Back in April Southwark Playhouse staged a flamboyant and fun flapper era production of William Wycherley’s Restoration comedy, The Country Wife. Jonathan
Messy, flawed, slippery: Rosemary Waugh on an intriguing revival of Sophie Treadwell's 1928 play.
The post Review: Machinal at Almeida Theatre appeared first on Exeunt Magazine.
St Giles-in-the-Fields holds the honour of being one of very few things that have stayed the same in Soho over the past
The notorious Marquis de Sade wrote Nouvelle Justine in 1791 and Juliette a decade later. The title characters represent ‘virtue’ and ‘vice’,
Kristina's play: Rosemary Waugh reviews Polly Stenham's adaptation of August Strindberg
The post Review: Julie at the National Theatre appeared first on Exeunt Magazine.
Emily Schwend’s Utility is about the real desperate housewives of America. The ones who aren’t actually housewives, but are juggling working the
Reminder: you're going to die. Rosemary Waugh reviews Dead Centre's work about Shakespeare's son
The post Review: Dead Centre’s Hamnet at the Southbank Centre appeared first on Exeunt Maga…