‘Head above water’: Andrew Edwards reviews Theatre Gu Leòr’s multilingual play about climate crisis and the erosion of the Gàidhlig language.

Andrew Edwards writes on the “exhilaration and fear-induced defecation” of Jian Yi’s ambitious, visually rich multimedia fusion of Butoh and live art.

Welcome to the Meadowdrome: Andrew Edwards writes on Frauke Requardt and Daniel Oliver’s participatory show about neurodivergence and family-building.

Rave speed 0.25: Andrew Edwards writes on French choreographer Gisèle Vienne’s slow motion, dirt-smeared party.

‘Dances for those who dance them’: Andy Edwards on V/DA’s survey of Afro-Caribbean dance and its radical ‘strategy of refusal’.

‘Locked in crosshairs’: Andy Edwards on the disorienting experience of watching Harry Josephine Giles’ catalogue of contemporary violences.

‘Before, after and aside’: Andrew Edwards writes on a multi-layered reworking of Ibsen’s classic from writer Stef Smith.

‘Constructed in layers before our eyes’: Andrew Edwards reviews imitating the dog’s ambitious, cinematic re-working of Joseph Conrad’s novel.

Farting geese and the spirit of Christmas: Andy Edwards reviews Johnny McKnight’s deliriously silly and subversive panto.

‘Meeting after meeting, difference after difference’: Andy Edwards reflects on a triple bill of Estonian contemporary performance in Glasgow.

Finding the language: Andy Edwards reviews Amy Rosa’s durational work exploring chronic pain and fatigue.

Dancing shadows: Colin Dunne’s tribute to Tommie Potts’ ‘undanceable’ 1972 album is a meditation on absence and time.