Slapstick metatheatre: Lilith Wozniak reviews Told By an Idiot’s comic tribute to Charlie Chaplin and Stan Laurel.
Dispatches: Hannah Greenstreet reviews Shaan Sahota’s play informed by her experience as a junior doctor on a Covid ward.
The revolution will not be made into a dance film: James Varney writes on Theatre Rites’ dance show for young audiences in which the camera takes centre stage.
Reworked intimacy: Mostyn Jones reviews a series of films by emerging artists exploring touch from different perspectives
The lay of the land: Tracey Sinclair reviews Daniel Bye and Boff Whalley’s ode to hill running and the Kinder Scout mass trespass.
Keeping it together: Sally Hales reviews Shôn Dale-Jones’ deftly-woven storytelling piece about creativity, family and death in the wake of the pandemic.
What’s in the box?: James Varney reviews Requardt and Rosenberg’s sci-fi dance piece performed from inside a haulage truck.
Performing masculinity: Mostyn Jones reviews Majid Mehdizadeh’s autobiographical show about his relationship to anger.
Pastoral disillusionment: Lilith Wozniak reviews Malaika Kegode’s gig-theatre memoir of young friendship in rural Devon.
Digital ritual: Naomi Obeng writes on a cornucopia of offerings from Glasgow’s DIY live art festival.
‘It requires work’: Andrew Edwards writes on Karen Christopher and Tara Fatehi Irani’s rewardingly dense durational performance.
‘Trapped by circumstances’: Simon Gwynn reviews Elin Schofield and Eve Cowley’s monologue about a female prison guard.
Take Me Online: Andrew Edwards reviews a selection of transporting works from Glasgow’s festival of performance and live art.
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.