Theatre for the cochlea: Tracey Sinclair reviews a varied set of audio-plays produced by sound designer Danny Krass.
Living architecture: Andrew Edwards reviews a homage to Glasgow poet Edwin Morgan which takes the audience backstage at the Tron.
‘Head above water’: Andrew Edwards reviews Theatre Gu Leòr’s multilingual play about climate crisis and the erosion of the Gàidhlig language.
Andrew Edwards writes on the “exhilaration and fear-induced defecation” of Jian Yi’s ambitious, visually rich multimedia fusion of Butoh and live art.
Family monsters: Christine Irvine reviews Oliver Emmanuel’s dark, tormented play about an estranged mother and daughter.
Welcome to the Meadowdrome: Andrew Edwards writes on Frauke Requardt and Daniel Oliver’s participatory show about neurodivergence and family-building.
Rave speed 0.25: Andrew Edwards writes on French choreographer Gisèle Vienne’s slow motion, dirt-smeared party.
‘Dances for those who dance them’: Andy Edwards on V/DA’s survey of Afro-Caribbean dance and its radical ‘strategy of refusal’.
Slapstick under a scalpel: Christine Irvine reviews Debbie Hannan’s pastel-plastic production of Marius von Mayenburg’s satire on beauty and fame.
All change: Christine Irvine writes on the shape-shifting theatrics of Pamela Carter and Stewart Laing’s exploration of change.
‘Locked in crosshairs’: Andy Edwards on the disorienting experience of watching Harry Josephine Giles’ catalogue of contemporary violences.
‘Before, after and aside’: Andrew Edwards writes on a multi-layered reworking of Ibsen’s classic from writer Stef Smith.
Last year’s model: Christine Irvine writes on attitudes towards technology in National Theatre of Scotland’s trilogy of tech-inflected dystopian shorts.
‘Constructed in layers before our eyes’: Andrew Edwards reviews imitating the dog’s ambitious, cinematic re-working of Joseph Conrad’s novel.
‘Like watching Trip Advisor glitching’: Lorna Irvine reviews German dance-theatre company Tatraum Projekte Schmidt’s piece on sharing space in contemporary Europe.