Gig economy, gig theatre: Lauren Vevers reviews an DIY, punk Christmas show taking aim at zero-hour work.
Home alone: Tracey Sinclair reviews Hannah Sowerby’s one-woman comedy with shades of Alan Bennett and Victoria Wood.
Snapshots from Thatcher’s Britain: Lauren Vevers reviews Natalie Ibu’s production of Jim Cartright’s seminal 1985 play, relocated to the North East.
Bildungsroman: Tracey Sinclair reviews a double bill of North Eastern coming of age stories.
‘An eclectic programme’: Tracey Sinclair samples Newcastle Fringe Festival’s offerings, from a performance inside a taxi to aquatic sound art.
‘The realm of memory’: Naomi Obeng reviews mandla rae’s poetic performance film about their memories of seeking asylum.
The lay of the land: Tracey Sinclair reviews Daniel Bye and Boff Whalley’s ode to hill running and the Kinder Scout mass trespass.
‘Defiant optimism’: Tracey Sinclair reviews a trio of films installed at Newcastle’s Alphabetti Theatre centring neurodivergent artists.
An empty space: Tracey Sinclair reviews a triptych of audio works responding to the physical space of Newcastle’s Alphabetti Theatre.
Home from home: Tracey Sinclair writes on an ‘eclectic but entertaining’ selection of ten-minute dramas by emerging writers.
Seeds for the future: Tracey Sinclair writes on Live Theatre’s showcase of developing work from emerging makers from the North East and beyond.
Hat trick: Tracey Sinclair reviews Mike Edwards’ ‘smart and eloquent’ solo show which smiles through grief.
Untaught history: Tracey Sinclair writes on Phoenix Dance Theatre’s unravelling of two instances of British colonial violence.
Know your history: Tracey Sinclair reviews Alexis Gregory’s one-man show channelling the history of LGBTQ+ activism.
The skull in the backpack: Tracey Sinclair reviews Sorcha McCaffrey’s autobiographical show about the realities of living with OCD.