‘I hope it works’: Amy Borsuk writes on Zoe Seaton’s playful, interactive online production of Macbeth, which combines theatre and horror film aesthetics through impressive special effects.
A shattered treehouse: Alice Saville writes on the furious emotional intensity of Jason Robert Brown’s story of heartbreak, performed by two actor-musicians.
Bridging the gap: Wambui Hardcastle writes about an online showcase of work by graduating Northumbria University students.
Disembodied voices: Eve Allin writes on Dead Centre’s livestreamed adaptation of a book about making men into machines.
Home from home: Tracey Sinclair writes on an ‘eclectic but entertaining’ selection of ten-minute dramas by emerging writers.
Unreliable connection: Louise Jones reviews a series of short performances exploring isolation and togetherness, co-presented with Opera North.
Internal voices: Lily Levinson encounters Rafaella Marcus’s intimate audio play, performed by Katherine Parkinson.
Sing me to sleep: Hannah Greenstreet reviews an unsettling, discordant set of stories from English Touring Theatre.
Queer longings: Gemma Lawrence’s play charts a lockdown romance forged at a distance.
Star Players: Rosemary Waugh writes on a site-specific show celebrating the ‘mud-splattered-flood-lit revolution’ that is women’s football.
“You must awake your faith”: Hannah Greenstreet writes on the Old Vic’s livestreamed production of Faith Healer with Michael Sheen.
Digital shadows: Wambui Hardcastle encounters a video podcast about online afterlives that you can watch on your mobile phone.
Out of credit: Tracey Sinclair reviews a livestream of Laura Lindow’s new play, an ‘urban fable’ about the impact of the rollout of Universal Credit in the North East.
Rain, sun, cloud: Lily Levinson reviews a letter-based performance that revisits the blurry days of lockdown.
Two Nora Ephron fans discuss the rain and romance of Sleepless, the first indoor musical since March.