No place to mourn: Natasha Tripney writes on an audio drama about the aftermath of the atrocities in Bosnia.
Crime and punishment: Simon Gwynn takes part in an interactive adventure that explores how justice is done online.
“Audience members are encouraged to follow their own instincts” at the wild immersive show that unfolds daily outside Ka Bradley’s window.
“It’s the theatrical equivalent of found poetry”: Natasha Tripney discovers the resourceful, richly textured techniques of Belarus Free Theatre’s online performance.
A tragedy in two acts: Natasha Tripney assesses the theatrical merits of the government’s most recent instalments of live-streamed satire
Hope in the dark: Ben Kulvichit discovers underground caves, cardboard time capsules and durational circus feats at BE Festival’s online edition.
Hope and healing: Hannah Greenstreet writes on the intimate, soothing and disconcerting interactive digital performances at The Yard’s one day festival.
What dreams may come: Natasha Tripney discusses a US production of Jeton Neziraj’s dystopian story of sleep and the subconscious.
A digital invitation: Tracey Sinclair overcomes her livestream scepticism at Gateshead’s teeming, welcoming online festival of live art.
Amelia Cavallo completes Greyscale and Exeunt’s imaginary reviews series with “a glimpse of what crip utopia could look like”.
The series continues with Wambui Hardcastle’s spirit-lifting show about love, unfolding in Byker’s grass ampitheatre.
“A play about failing. Sign. Me. Up.” – Naomi Obeng imagines a tentative, hopeful performance in a brand new Loughborough venue.
“It hits me like a thunderbolt – the bright lights, blazing through the window”: Andrew Edwards imagines a visit to Glasgow’s Tron Theatre.
“Images cling like smoke on a sleeve”: Ava Wong Davies pictures a visually striking Edinburgh fringe show, as part of the Imaginary Reviews series.
“I’m watching parallel universes existing on top of each other” – Ben Kulvichit dreams up a hectic performance by two Berlin-based dance artists.