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.
Unreliable connection: Louise Jones reviews a series of short performances exploring isolation and togetherness, co-presented with Opera North.
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.
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.
Seeds for the future: Tracey Sinclair writes on Live Theatre’s showcase of developing work from emerging makers from the North East and beyond.
I could do so much more: Ben Kulvichit reviews Chris Bush’s ambitious, time travelling reinterpretation of Doctor Faustus.
‘Head above water’: Andrew Edwards reviews Theatre Gu Leòr’s multilingual play about climate crisis and the erosion of the Gàidhlig language.
Hat trick: Tracey Sinclair reviews Mike Edwards’ ‘smart and eloquent’ solo show which smiles through grief.
Sudden cyborg: James Varney writes on Sophie Woolley’s first-person account of losing, and then regaining, her hearing.
‘Lost words’: Naomi Obeng writes on Sheila Ghelani and Sue Palmer’s ‘show and tell’ excavation of colonial trade history.
No spoilers: James Varney writes an email to HOME and explores the ways in which work is contextualised for audiences.
Kite, meat hook, paint: Emily Holyoake delves into the symbolism of props and the tropes of contemporary Shakespeare revivals.
Writ large: Louise Jones reviews an adaptation of Hans Fallada’s wartime novel which loses its moral nuance in the journey from page to stage.