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.
Amelia Cavallo completes Greyscale and Exeunt’s imaginary reviews series with “a glimpse of what crip utopia could look like”.
The series continues with Wambui Hardcastle’s spirit-lifting show about love, unfolding in Byker’s grass ampitheatre.