Devoted to the devil: James Varney invokes David Greig’s midwinter folk story with a crown of sonnets.
Echoes in history: James Varney writes on hauntings in this revival of Katori Hall’s play set on the eve of Martin Luther King Jr.’s death.
Details and background: James Varney writes on Common Wealth’s portrait of three Bradford men, taking in the city, Islamophobia and modified car culture.
Not falling down: James Varney reviews Stuart Slade’s Bruntwood Judges’ Prize-winning play about a sixteen year-old girl diagnosed with a terminal illness.
Interrupted history: James Varney writes on RashDash’s approach to biography and storytelling in their cabaret portrait of Lizzie Siddal and Dante Gabriel Rosetti.
The revolution will not be made into a dance film: James Varney writes on Theatre Rites’ dance show for young audiences in which the camera takes centre stage.
A gig economy: James Varney writes about Lauryn Redding’s queer love story, and the fragile structures it explores.
What’s in the box?: James Varney reviews Requardt and Rosenberg’s sci-fi dance piece performed from inside a haulage truck.
Eye contact: James Varney writes on liveness in Rob Drummond’s unsettling, loss-tinged open mic night.
Diluted content: James Varney reviews an audio piece to be experienced in the bathroom that slips through the fingers.
Internal logic: James Varney writes on Darkfield’s trilogy audio works, which deliver chills with mixed success.
Covid culture: James Varney explores the new ways we engage with performance via RashDash’s documentary album, listened to from home.
“A dream can have a physical impact on you”: The Imaginary Reviews series continues with James Varney’s architectural intervention.
Sudden cyborg: James Varney writes on Sophie Woolley’s first-person account of losing, and then regaining, her hearing.
No spoilers: James Varney writes an email to HOME and explores the ways in which work is contextualised for audiences.