What’s in the box?: James Varney reviews Requardt and Rosenberg’s sci-fi dance piece performed from inside a haulage truck.
Performing masculinity: Mostyn Jones reviews Majid Mehdizadeh’s autobiographical show about his relationship to anger.
Pastoral disillusionment: Lilith Wozniak reviews Malaika Kegode’s gig-theatre memoir of young friendship in rural Devon.
Touching the void: Brendan Macdonald writes on Dante or Die’s interactive exploration of touch, which is a reminder of theatre’s ‘ability to provoke deep, intimate connections between audience and performer’.
Digital ritual: Naomi Obeng writes on a cornucopia of offerings from Glasgow’s DIY live art festival.
‘It requires work’: Andrew Edwards writes on Karen Christopher and Tara Fatehi Irani’s rewardingly dense durational performance.
Mert Dilek writes on Dawn Walton’s revival of Alfred Fagon’s incendiary play, ‘a crucible in which questions of race, class, and gender intermingle’.
‘Trapped by circumstances’: Simon Gwynn reviews Elin Schofield and Eve Cowley’s monologue about a female prison guard.
Take Me Online: Andrew Edwards reviews a selection of transporting works from Glasgow’s festival of performance and live art.
Material world: Ben Kulvichit reviews Rosana Cade and Ivor MacAskill’s adaptation of Pinocchio as an autobiographical gender transition allegory.
Returning ritual: Mostyn Jones writes on Abigail Conway’s participatory candle ceremony for turbulent times.
Open wounds: Sally Hales reviews Lisa Parry’s allegorical play about a “left-behind” Welsh town.
‘Defiant optimism’: Tracey Sinclair reviews a trio of films installed at Newcastle’s Alphabetti Theatre centring neurodivergent artists.
Alternative living: Maddy Costa shares her correspondences with friends about Anna Rispoli and Martina Angelotti’s show about four radical European collectives.
Plays pleasant: Lily Levinson finds the plays in Paul Miller’s latest George Bernard Shaw production ‘solid chortlers’ if not ‘searingly urgent’.