‘Defiant optimism’: Tracey Sinclair reviews a trio of films installed at Newcastle’s Alphabetti Theatre centring neurodivergent artists.
An empty space: Tracey Sinclair reviews a triptych of audio works responding to the physical space of Newcastle’s Alphabetti Theatre.
New horizons: Tracey Sinclair reviews a trilogy of quest-themed short plays by Stewart Melton.
Theatre for the cochlea: Tracey Sinclair reviews a varied set of audio-plays produced by sound designer Danny Krass.
Lockdown retrospective: Tracey Sinclair reviews James Graham’s play which surveys the summer lockdown through the eyes of a new relationship.
Home from home: Tracey Sinclair writes on an ‘eclectic but entertaining’ selection of ten-minute dramas by emerging writers.
Out of credit: Tracey Sinclair reviews a livestream of Laura Lindow’s new play, an ‘urban fable’ about the impact of the rollout of Universal Credit in the North East.
“Where are you hiding, Ollie Dowden?” – Tracey Sinclair attempts to unite the warring spheres of football and theatre with some chants to yell from the stalls.
A digital invitation: Tracey Sinclair overcomes her livestream scepticism at Gateshead’s teeming, welcoming online festival of live art.
“It feels conspiratorial, as illicit as an affair”: A new series commissioned by Greyscale begins with Tracey Sinclair’s imaginative jaunt across Newcastle.
Seeds for the future: Tracey Sinclair writes on Live Theatre’s showcase of developing work from emerging makers from the North East and beyond.
Hat trick: Tracey Sinclair reviews Mike Edwards’ ‘smart and eloquent’ solo show which smiles through grief.
Untaught history: Tracey Sinclair writes on Phoenix Dance Theatre’s unravelling of two instances of British colonial violence.
Know your history: Tracey Sinclair reviews Alexis Gregory’s one-man show channelling the history of LGBTQ+ activism.
The skull in the backpack: Tracey Sinclair reviews Sorcha McCaffrey’s autobiographical show about the realities of living with OCD.