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.
Mood piece: James Varney paints the violent, lustful landscape of Wuthering Heights in seven panels
Shedding and putting on layers: James Varney on the process of reshaping oneself in Tania Camara’s messy, physical performance piece.
‘How do you look?’: James Varney writes on the act of witnessing in Plaster Cast Theatre’s verbatim piece about trans and non-binary bodies.
Learning to care: James Varney writes on the complicated friendship at the heart of Charlene James’ play about FGM in Britain.
Successful parenting: James Varney writes on the obsessive drive of Rose, the vaudeville troupe manager-mother of Gypsy.