A digital invitation: Tracey Sinclair overcomes her livestream scepticism at Gateshead’s teeming, welcoming online festival of live art.
“It feels conspiratorial, as illicit as an affair”: A new series commissioned by Greyscale begins with Tracey Sinclair’s imaginative jaunt across Newcastle.
Seeds for the future: Tracey Sinclair writes on Live Theatre’s showcase of developing work from emerging makers from the North East and beyond.
Hat trick: Tracey Sinclair reviews Mike Edwards’ ‘smart and eloquent’ solo show which smiles through grief.
Untaught history: Tracey Sinclair writes on Phoenix Dance Theatre’s unravelling of two instances of British colonial violence.
Know your history: Tracey Sinclair reviews Alexis Gregory’s one-man show channelling the history of LGBTQ+ activism.
The skull in the backpack: Tracey Sinclair reviews Sorcha McCaffrey’s autobiographical show about the realities of living with OCD.
Same old story: Tracey Sinclair writes on an ‘impressively slick’ solo show which falls into the trap of giving oxygen to its narrator’s toxic outlook.
Unravelling grief: Tracey Sinclair reviews a touring production from Graeae of Winsome Pinnock’s play unspooling a tragic event.
Life story: Tracey Sinclair writes on Umar Butt’s charming, personal show about his grandmother’s life, set during the Partition of India.
Disruptive behaviour: Tracey Sinclair writes on Elijah Young’s ‘vinegar-sharp’ piece about teenagers in a daytime detention class.
High life: Tracey Sinclair reviews Camasido Club’s ‘glitter-soaked morality tale’ about powerful men and the commodification of youth.
‘Illicit excitement’: Tracey Sinclair on post-industrial working class disenfranchisement in Gary Clarke’s contemporary dance take on the 90’s rave scene.
Sweet and sharp: Tracey Sinclair writes on nostalgia, family and food in an adaptation of Nigel Slater’s memoir.
Comedy over chemistry: Tracey Sinclair writes on an uneven production from the Watermill Ensemble with lacking lovers but plentiful laughs.