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.
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.