Digital shadows: Wambui Hardcastle encounters a video podcast about online afterlives that you can watch on your mobile phone.
Out of credit: Tracey Sinclair reviews a livestream of Laura Lindow’s new play, an ‘urban fable’ about the impact of the rollout of Universal Credit in the North East.
Rain, sun, cloud: Lily Levinson reviews a letter-based performance that revisits the blurry days of lockdown.
Give it time: Ben Kulvichit writes on how durational performances are perfectly suited to the present moment.
Come to the party: Ka Bradley reflects on two communal viewings of Manon – one on a big screen, one on a small screen.
Friendly overtures: Rosemary Waugh writes on her confidence-boosting one-to-one therapy session from an opera singer.
Echoes through time: Hannah Greenstreet writes on her encounters with Alice Birch’s haunting exploration of intergenerational trauma.
Essential work: Alice Saville explores how Nathan Ellis’s interactive play works better from home.
Dancing with death: Ka Bradley reckons with Pina Bausch’s mesmerising dance ritual, across multiple encounters
Interlinked anxieties: Ava Wong Davies writes on Duncan Macmillan’s climate drama in its 2019 revival and its 2020 split screen livestream.
No place to mourn: Natasha Tripney writes on an audio drama about the aftermath of the atrocities in Bosnia.
A tragedy in two acts: Natasha Tripney assesses the theatrical merits of the government’s most recent instalments of live-streamed satire
Hope in the dark: Ben Kulvichit discovers underground caves, cardboard time capsules and durational circus feats at BE Festival’s online edition.
Hope and healing: Hannah Greenstreet writes on the intimate, soothing and disconcerting interactive digital performances at The Yard’s one day festival.
What dreams may come: Natasha Tripney discusses a US production of Jeton Neziraj’s dystopian story of sleep and the subconscious.