Strange meeting: Tracey Sinclair reviews Gary Kitching and Steve Byron’s two-hander about men left behind by social systems.
Season’s greetings: Tracey Sinclair reviews a warm-hearted quartet of short plays from emerging writers.
Real stories: Tracey Sinclair on Open Clasp’s nuanced, heartfelt play looking at life after prison, based on the story of its real-life mother and daughter cast.
‘I hope for better stories than these’: Tracey Sinclair writes on the prevalence of violence against women as plot device in her review of She Production’s devised play.
‘Shiny baubles’: Tracey Sinclair reviews Elayce Ismail’s production of Dylan Thomas’s radio play.
Visions of the future: Unlimited Theatre and RashDash collaborate on a whirlwind of speculative scenarios on technology and the body.
A mountain of a man? Tracey Sinclair writes on the nuanced performances in the touring production of Katori Hall’s play.
A group hug? Tracey Sinclair reviews a devised work by new North East company Circ Motif.
Little but hard choices: Tracey Sinclair reviews a stage adaptation of James Mitchell’s TV series.
The Grey Zone disintegrates: Chris Collett reviews Javaad Alipoor’s interactive show on the internet as a space for extreme violence.
Somewhere between a performance installation and a tribute to Phoenix Nights: Matt Miller reviews Newcastle’s newest night of performance art.
Both local and universal: Matt Miller reviews David Almond’s resetting of the Orpheus and Eurydice myth in Tyneside.
A passion play: Matt Miller reviews Patrick Marber’s play about god, nostalgia and football.
“As delicate and light as a feather”: Andrew Latimer reviews The Paper Birds’ new show about the British class system.
Haunting and healing: Andrew Latimer reviews Josh Coates’s autobiographical performance at Northern Stage.