“It’s the theatrical equivalent of found poetry”: Natasha Tripney discovers the resourceful, richly textured techniques of Belarus Free Theatre’s online performance.
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.
Seeds for the future: Tracey Sinclair writes on Live Theatre’s showcase of developing work from emerging makers from the North East and beyond.
I could do so much more: Ben Kulvichit reviews Chris Bush’s ambitious, time travelling reinterpretation of Doctor Faustus.
‘Head above water’: Andrew Edwards reviews Theatre Gu Leòr’s multilingual play about climate crisis and the erosion of the Gàidhlig language.
Hat trick: Tracey Sinclair reviews Mike Edwards’ ‘smart and eloquent’ solo show which smiles through grief.
Sudden cyborg: James Varney writes on Sophie Woolley’s first-person account of losing, and then regaining, her hearing.
‘Lost words’: Naomi Obeng writes on Sheila Ghelani and Sue Palmer’s ‘show and tell’ excavation of colonial trade history.
No spoilers: James Varney writes an email to HOME and explores the ways in which work is contextualised for audiences.
Kite, meat hook, paint: Emily Holyoake delves into the symbolism of props and the tropes of contemporary Shakespeare revivals.
Writ large: Louise Jones reviews an adaptation of Hans Fallada’s wartime novel which loses its moral nuance in the journey from page to stage.
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.