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.
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.
‘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.
‘Somebody else’s gravity’: Lilith Wozniak writes on Raquel Meseguer Zafe’s audio piece exploring invisible illness and resting in public.
On the line: Louise Jones writes on 600 Highwaymen’s intimate, exposing piece which takes place on a phone call with a stranger.
Modernist montage: Lilith Wozniak reviews a fragmentary feature film pieced together from 100 artist commissions by Impermanence Dance.