Material world: Ben Kulvichit reviews Rosana Cade and Ivor MacAskill’s adaptation of Pinocchio as an autobiographical gender transition allegory.
Returning ritual: Mostyn Jones writes on Abigail Conway’s participatory candle ceremony for turbulent times.
Open wounds: Sally Hales reviews Lisa Parry’s allegorical play about a “left-behind” Welsh town.
‘Defiant optimism’: Tracey Sinclair reviews a trio of films installed at Newcastle’s Alphabetti Theatre centring neurodivergent artists.
Alternative living: Maddy Costa shares her correspondences with friends about Anna Rispoli and Martina Angelotti’s show about four radical European collectives.
‘Somebody else’s gravity’: Lilith Wozniak writes on Raquel Meseguer Zafe’s audio piece exploring invisible illness and resting in public.
On the line: Louise Jones writes on 600 Highwaymen’s intimate, exposing piece which takes place on a phone call with a stranger.
Modernist montage: Lilith Wozniak reviews a fragmentary feature film pieced together from 100 artist commissions by Impermanence Dance.
Grey matter: Harvey Bassett reviews a digital installation from New Perspectives in the form of a ‘deluge’ of voices from a nursing home.
An empty space: Tracey Sinclair reviews a triptych of audio works responding to the physical space of Newcastle’s Alphabetti Theatre.
Now you see me: Louise Jones reviews a film by performance maker and magician Augusto Corrieri, made in response to a cancelled 2020 tour.
New horizons: Tracey Sinclair reviews a trilogy of quest-themed short plays by Stewart Melton.
Eye contact: James Varney writes on liveness in Rob Drummond’s unsettling, loss-tinged open mic night.
Writing history: Lilith Wozniak writes on the role of storytelling in Giles Terera’s radio play about the 1781 Zong slaveship massacre and the fight for abolition.
Office romance: Harvey Bassett reviews Out of Chaos’s interactive telephone show masquerading as a market research questionnaire.