Dancing with death: Ka Bradley reckons with Pina Bausch’s mesmerising dance ritual, across multiple encounters
No place to mourn: Natasha Tripney writes on an audio drama about the aftermath of the atrocities in Bosnia.
A tragedy in two acts: Natasha Tripney assesses the theatrical merits of the government’s most recent instalments of live-streamed satire
Hope in the dark: Ben Kulvichit discovers underground caves, cardboard time capsules and durational circus feats at BE Festival’s online edition.
Hope and healing: Hannah Greenstreet writes on the intimate, soothing and disconcerting interactive digital performances at The Yard’s one day festival.
What dreams may come: Natasha Tripney discusses a US production of Jeton Neziraj’s dystopian story of sleep and the subconscious.
Amelia Cavallo completes Greyscale and Exeunt’s imaginary reviews series with “a glimpse of what crip utopia could look like”.
The series continues with Wambui Hardcastle’s spirit-lifting show about love, unfolding in Byker’s grass ampitheatre.
“A play about failing. Sign. Me. Up.” – Naomi Obeng imagines a tentative, hopeful performance in a brand new Loughborough venue.
“It hits me like a thunderbolt – the bright lights, blazing through the window”: Andrew Edwards imagines a visit to Glasgow’s Tron Theatre.
“Images cling like smoke on a sleeve”: Ava Wong Davies pictures a visually striking Edinburgh fringe show, as part of the Imaginary Reviews series.
“I’m watching parallel universes existing on top of each other” – Ben Kulvichit dreams up a hectic performance by two Berlin-based dance artists.
“A dream can have a physical impact on you”: The Imaginary Reviews series continues with James Varney’s architectural intervention.
“The creativity of artists has sparked dozens of projects”: A series commissioned by Greyscale continues with Lyn Gardner’s community-led Kingston takeover.
“From misty New Orleans to misty South Wales”: Greyscale’s Imaginary Reviews series continues with Jafar Iqbal’s Welsh spin on a classic.