Digital ritual: Naomi Obeng writes on a cornucopia of offerings from Glasgow’s DIY live art festival.
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.
Alternative living: Maddy Costa shares her correspondences with friends about Anna Rispoli and Martina Angelotti’s show about four radical European collectives.
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.