Plays pleasant: Lily Levinson finds the plays in Paul Miller’s latest George Bernard Shaw production ‘solid chortlers’ if not ‘searingly urgent’.
Eye contact: James Varney writes on liveness in Rob Drummond’s unsettling, loss-tinged open mic night.
A mood: Ben Kulvichit writes on an audio piece which invites the listener on a stroll in the rain.
Cooking without a recipe: Naomi Obeng writes on a Malaysian and UK co-production about living across two cultures.
“I seancÃ©d my ass off”: Lily Levinson reviews Luke Bateman and Michael Conley’s one-man musical about ‘sozzled, sweary’, Spiritualist sisters.
‘Dream logic’: Naomi Obeng writes on Encounter’s strange, sad study on grief, reimagined as a filmed site-specific performance.
Queer longings: Gemma Lawrence’s play charts a lockdown romance forged at a distance.
Hope and healing: Hannah Greenstreet writes on the intimate, soothing and disconcerting interactive digital performances at The Yard’s one day festival.
‘This trying is pointed at you, because the show felt pointed at me for once’: Frey Kwa Hawking writes on Sylvan Oswald’s ‘theatrical essay’ about transness and love.
The reluctant critic: Brendan MacDonald writes on Christopher Green’s tricksy performance of a crisis of faith in theatre.
Are we alone? Frey Kwa Hawking writes on Frantic Assembly’s ‘unwieldy’ new show that constellates characters in grief and loneliness.
Food fight: Mert Dilek writes on Gillian Greer’s exploration of appetites and consent.
Bodies in a movement: Maddy Costa writes on Coletiva OcupaÃ§Ã£o’s ‘radiant’ show telling the stories of some of the Brazilian students who occupied their schools in 2015.
Waiting for transcendence: Frey Kwa Hawking writes on Antoinette Nwandu’s play racist police violence and structural discrimination in America.
Heaven-sent: Hannah Greenstreet writes on Temi Wilkey’s moving queer Nigerian love story, set in London and the afterlife.