Neighbourhood watch: Lilith Wozniak reviews Access All Area’s app-based promenade performance revealing ableism in the policing of public behaviour.
You are what you eat: Lilith Wozniak reviews The Wardrobe Ensemble’s free-wheeling whistle stop tour of the evolution of capitalism.
Slapstick metatheatre: Lilith Wozniak reviews Told By an Idiot’s comic tribute to Charlie Chaplin and Stan Laurel.
Pastoral disillusionment: Lilith Wozniak reviews Malaika Kegode’s gig-theatre memoir of young friendship in rural Devon.
‘Somebody else’s gravity’: Lilith Wozniak writes on Raquel Meseguer Zafe’s audio piece exploring invisible illness and resting in public.
Modernist montage: Lilith Wozniak reviews a fragmentary feature film pieced together from 100 artist commissions by Impermanence Dance.
Writing history: Lilith Wozniak writes on the role of storytelling in Giles Terera’s radio play about the 1781 Zong slaveship massacre and the fight for abolition.
The roaring 2020s: Lilith Wozniak reviews The Wardrobe Ensemble’s inventive filmed adaptation of the F. Scott Fitzgerald classic.
Object lesson: Lilith Wozniak writes on the Edinburgh-based puppetry and visual theatre festival’s experiments in digital physicality.
Interactive intrigue: Lilith Wozniak reviews a Zoom-based murder mystery by Bristol theatre company Sharp Teeth.
Menace à trois: Lilith Wozniak reviews a revival of Pinter’s reverse-chronological adultery drama
Unlimited stories: Lilith Wozniak reviews Diverse City’s exploration of the broad range of women’s mid life experiences.
Flightless bird: Lilith Wozniak review a comedy adaptation of Swan Lake which doesn’t quite take off.
Cartoons out of context: Lilith Wozniak writes on Lea Anderson and PUCP’s mercurial, image-filled dance piece.
Balancing act: Lilith Wozniak writes on an untamed, ebullient production of Rapunzel which trusts its audience with nuance.