‘Like watching Trip Advisor glitching’: Lorna Irvine reviews German dance-theatre company Tatraum Projekte Schmidt’s piece on sharing space in contemporary Europe.
Farting geese and the spirit of Christmas: Andy Edwards reviews Johnny McKnight’s deliriously silly and subversive panto.
‘Meeting after meeting, difference after difference’: Andy Edwards reflects on a triple bill of Estonian contemporary performance in Glasgow.
Finding the language: Andy Edwards reviews Amy Rosa’s durational work exploring chronic pain and fatigue.
Dancing shadows: Colin Dunne’s tribute to Tommie Potts’ ‘undanceable’ 1972 album is a meditation on absence and time.
‘A vivid plea for understanding’: David Pollock reviews a promenade adaptation of Naoki Higashida’s book about the experience of autism.
Locked and loaded: the Scottish premiere of Stephen Adly Guirgis’ comedy is “blisteringly enjoyable”.
School gate politics: Lorna Martin makes an assured debut with A Play, A Pie and A Pint.
27 years later: Rona Munro’s play’s focus has shifted since its premiere in 1991.
“Company of Wolves’ micro-exploration of grief and pain seems achingly timely.”
Seems to push at the boundaries of your brain: Andrew Edwards reviews Robbie Thomson’s work as part of Sonica 2017.
A noise not possible on dry land: Andrew Edwards reviews Between Music’s performance playing custom-made musical instruments underwater.
The start of a conversation? Andrew Edwards reviews Wonder Fools’ show about watching porn.
Satirical comment beaten into submission: Christine Irvine reviews the Tron Theatre’s resurrection of Anthony Neilson’s Christmas-time comedy.
A strange sort of hope: Andrew Edwards reflects on the Glasgow iteration of this collaborative, international, interdisciplinary artwork.