Before the flood: Jess Rahman-González reviews Travis Alabanza’s play about friendship and toilets.
Cooking up a storm: Alice Saville reviews a fan-created musical inspired by Pixar’s tale of a talented rodent chef.
Travelling light: Fergus Morgan checks in for a hotel-themed magic show that’s full of flash but missing substance.
“A whole world between my fingers”: An expansive story about food (in)security and seedbanks sprouts from No Stone Theatre’s podcast, writes Frey Kwa Hawking.
Something to count on: Lily Levinson writes on Chris Bush’s collection of stories for and about dark times.
Living architecture: Andrew Edwards reviews a homage to Glasgow poet Edwin Morgan which takes the audience backstage at the Tron.
Low-growling discord: Rosemary Waugh reviews a tense 60th anniversary revival of Harold Pinter’s play.
Bending the rules: Mostyn Jones writes about two works by Hidden Track that play with the conventions of gaming and theatre.
“I seancéd my ass off”: Lily Levinson reviews Luke Bateman and Michael Conley’s one-man musical about ‘sozzled, sweary’, Spiritualist sisters.
Internal logic: James Varney writes on Darkfield’s trilogy audio works, which deliver chills with mixed success.
Floating in the void: Eve Allin writes on an innovative, unsettling text-based reimagining of Caroline Horton’s play.
‘Dream logic’: Naomi Obeng writes on Encounter’s strange, sad study on grief, reimagined as a filmed site-specific performance.
‘To be responsive is to be quick on your feet but no less considered for it’: Frey Kwa Hawking writes on Roy Williams and Clint Dyer’s agile sequel to Death of England.
Hockey, tea-towels and God: Lily Levinson reviews a ‘careful and delicate production’ of Margaret Perry’s radio play about a burgeoning teenage romance.
Smoke and mirrors: Fergus Morgan writes on a Zoom magic show that doesn’t pull off all its tricks.