Fire and fury: Angelo Irving reviews From Below’s outdoor Faustus combining acrobatics, fire poi and pantomime.
Shapes and colours: Ben Kulvichit reviews two contrasting dance works as part of the Horizon showcase’s public programme.
You are what you eat: Lilith Wozniak reviews The Wardrobe Ensemble’s free-wheeling whistle stop tour of the evolution of capitalism.
Interrupted history: James Varney writes on RashDash’s approach to biography and storytelling in their cabaret portrait of Lizzie Siddal and Dante Gabriel Rosetti.
‘An eclectic programme’: Tracey Sinclair samples Newcastle Fringe Festival’s offerings, from a performance inside a taxi to aquatic sound art.
‘The realm of memory’: Naomi Obeng reviews mandla rae’s poetic performance film about their memories of seeking asylum.
Slapstick metatheatre: Lilith Wozniak reviews Told By an Idiot’s comic tribute to Charlie Chaplin and Stan Laurel.
Dispatches: Hannah Greenstreet reviews Shaan Sahota’s play informed by her experience as a junior doctor on a Covid ward.
The revolution will not be made into a dance film: James Varney writes on Theatre Rites’ dance show for young audiences in which the camera takes centre stage.
Reworked intimacy: Mostyn Jones reviews a series of films by emerging artists exploring touch from different perspectives
The lay of the land: Tracey Sinclair reviews Daniel Bye and Boff Whalley’s ode to hill running and the Kinder Scout mass trespass.
Keeping it together: Sally Hales reviews Shôn Dale-Jones’ deftly-woven storytelling piece about creativity, family and death in the wake of the pandemic.
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.