“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.
“Whose eyes are being opened?” Angelo Irving writes on a narrative of systemic racism in Scotland that feels all too familiar.
Growing pains: Louise Jones reviews Northern Rascal’s outdoor dance piece made with a group of twenty 16-25 year olds from Calderdale.
Missed connections: Alice Saville and Hannah Greenstreet have a phone conversation about Coney’s interactive telephone exchange performance.
Kitchen-sink drama: Ava Wong Davies reviews Forced Entertainment’s domestic, unexpectedly moving retellings of Shakespeare’s plays.
Grief encounter: Louise Jones reviews Headlong’s ghost story, reimagined as a performance via telephone.
‘A story without an ending’: Andrew Edwards writes on Daniel Kitson’s account of the pandemic, from within the thick of it.
A nihilistic vision of love: Eve Allin reviews Tinuke Craig’s seismic production of Sarah Kane’s visual poem.
Interactive intrigue: Lilith Wozniak reviews a Zoom-based murder mystery by Bristol theatre company Sharp Teeth.