Floating in the void: Eve Allin writes on an innovative, unsettling text-based reimagining of Caroline Horton’s play.
A nihilistic vision of love: Eve Allin reviews Tinuke Craig’s seismic production of Sarah Kane’s visual poem.
Disembodied voices: Eve Allin writes on Dead Centre’s livestreamed adaptation of a book about making men into machines.
An invitation to write: Eve Allin pens poems in response to Tim Crouch’s story of Cinna the Poet, Shakespeare’s most hard-done-by character.
Trying to fly: Eve Allin writes on SUPERFAN’s circus performance for adults and children.
‘Hedda will always be painful’: Eve Allin writes on Cordelia Lynn’s Ibsen update, and the difficulty of re-writing a trapped character.
Nightmare room: Eve Allin reviews Daniel Bailey’s surreal production of Joe Penhall’s dissection of systemic racism in the mental health care system.
Slow burning tragedy: Eve Allin writes on falling in love with Lynn Nottage’s play about eight lives in industrial Pennsylvania.
Starting a conversation: Eve Allin reviews a new collaboration between Andy Smith (UK) and Amund Sjølie Sveen (Norway)
Walking, standing still: Eve Allin writes on Stan’s Cafe’s new show about urban inequality, performed on two travelators.
A bad trip: Eve Allin writes on Leo Butler’s surreal new play for Told by An Idiot.
Half Moon Shania is a punk show about young women trying to contort themselves into a shape besides sexiness.
Free skating: Far away from Edinburgh’s city centre, Le Patin Libre’s ice dance performance feels magical.
Holding your breath: Martin Zimmerman’s monologue is a tense exploration of gun violence and trauma.
Eve Allin reviews Meek, a new dystopian drama that isn’t so unfamiliar.