Theatre for the cochlea: Tracey Sinclair reviews a varied set of audio-plays produced by sound designer Danny Krass.
Diluted content: James Varney reviews an audio piece to be experienced in the bathroom that slips through the fingers.
Rambling conversation: Crystal Bennes writes on the nourishing simplicity of Ben Harrison’s promenade performance.
Object lesson: Lilith Wozniak writes on the Edinburgh-based puppetry and visual theatre festival’s experiments in digital physicality.
Living architecture: Andrew Edwards reviews a homage to Glasgow poet Edwin Morgan which takes the audience backstage at the Tron.
“I seancéd my ass off”: Lily Levinson reviews Luke Bateman and Michael Conley’s one-man musical about ‘sozzled, sweary’, Spiritualist sisters.
‘Dream logic’: Naomi Obeng writes on Encounter’s strange, sad study on grief, reimagined as a filmed site-specific performance.
Growing pains: Louise Jones reviews Northern Rascal’s outdoor dance piece made with a group of twenty 16-25 year olds from Calderdale.
Grief encounter: Louise Jones reviews Headlong’s ghost story, reimagined as a performance via telephone.
‘A story without an ending’: Andrew Edwards writes on Daniel Kitson’s account of the pandemic, from within the thick of it.
Interactive intrigue: Lilith Wozniak reviews a Zoom-based murder mystery by Bristol theatre company Sharp Teeth.
Lockdown retrospective: Tracey Sinclair reviews James Graham’s play which surveys the summer lockdown through the eyes of a new relationship.
Menace à trois: Lilith Wozniak reviews a revival of Pinter’s reverse-chronological adultery drama
Covid culture: James Varney explores the new ways we engage with performance via RashDash’s documentary album, listened to from home.
Home from home: Tracey Sinclair writes on an ‘eclectic but entertaining’ selection of ten-minute dramas by emerging writers.