Walking in the air: Storyboard P’s Afrofuturist performance defies gravity to put a smile on your face.
“A grief whose depths I can’t imagine”: Andrew Edwards reviews a sonic meditation on the North Sea Flood of 1953.
“It feels like an act of self-harm”: Kate Wyver on Sverre Waage’s three-man show featuring performers sold into the circus as children.
A strange sort of hope: Andrew Edwards reflects on the Glasgow iteration of this collaborative, international, interdisciplinary artwork.
Claire Takami Siljedahl reviews Francesca Beard’s new show about truth and deception at Cambridge’s Watch Out Festival.
A new, funny, cross intimacy: Lily James reviews Lucy and Addrian Hutson’s father-and-daughter performance at Cambridge’s Watch Out Festival
Enormous, terrifying power: Lily James writes on taking part in Jamal Harewood’s follow up to The Privileged, a collaborative show about the impact of words.
The gentle tracing of our pens on paper: Kate Wyver draws Hannah Sullivan in her “infinitely delicate” one-on-one participatory show in Bristol.
Poetics, conversations and form in critical writing: a series of post-Spill Festival reflections.
Lois Keidan on the curated programme of talks and performances, Old Dears, at Chelsea Theatre.
‘A voice can break, a flyer can fall and glass can shatter.’
Curator Lisa Alexander on a festival exploring European solidarity through love, action and provocation.
Poetics of the uncanny.
Participation and accountability.
Artist Madeleine Botet De Lacaze on astrology, corporeality and Virginia Woolf.