Louise Jones reviews an outdoor monologue with a soundtrack that chimes with its themes of grief and spirituality.
Give it time: Ben Kulvichit writes on how durational performances are perfectly suited to the present moment.
Pyrrhic victories: Wambui Hardcastle plays an interactive online Blackjack game that decides the planet’s future.
Come to the party: Ka Bradley reflects on two communal viewings of Manon – one on a big screen, one on a small screen.
Friendly overtures: Rosemary Waugh writes on her confidence-boosting one-to-one therapy session from an opera singer.
Echoes through time: Hannah Greenstreet writes on her encounters with Alice Birch’s haunting exploration of intergenerational trauma.
Essential work: Alice Saville explores how Nathan Ellis’s interactive play works better from home.
“What happens when you take the crowd away?: Andy Edwards reviews a football match that offers a new kind of liveness.
Dancing with death: Ka Bradley reckons with Pina Bausch’s mesmerising dance ritual, across multiple encounters
Interlinked anxieties: Ava Wong Davies writes on Duncan Macmillan’s climate drama in its 2019 revival and its 2020 split screen livestream.
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