It’s your funeral: Simon Gwynn reviews a clown show made by Ugly Bucket to be performed at a friend’s memorial service.
Details and background: James Varney writes on Common Wealth’s portrait of three Bradford men, taking in the city, Islamophobia and modified car culture.
Not falling down: James Varney reviews Stuart Slade’s Bruntwood Judges’ Prize-winning play about a sixteen year-old girl diagnosed with a terminal illness.
Interrupted history: James Varney writes on RashDash’s approach to biography and storytelling in their cabaret portrait of Lizzie Siddal and Dante Gabriel Rosetti.
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.
Untangling threads: Mostyn Jones reviews an ambitious game by Dan Hett exploring the fallout of a terror attack.
Covid culture: James Varney explores the new ways we engage with performance via RashDash’s documentary album, listened to from home.
Sudden cyborg: James Varney writes on Sophie Woolley’s first-person account of losing, and then regaining, her hearing.
No spoilers: James Varney writes an email to HOME and explores the ways in which work is contextualised for audiences.
Mood piece: James Varney paints the violent, lustful landscape of Wuthering Heights in seven panels
Shedding and putting on layers: James Varney on the process of reshaping oneself in Tania Camara’s messy, physical performance piece.
‘How do you look?’: James Varney writes on the act of witnessing in Plaster Cast Theatre’s verbatim piece about trans and non-binary bodies.
Learning to care: James Varney writes on the complicated friendship at the heart of Charlene James’ play about FGM in Britain.
Successful parenting: James Varney writes on the obsessive drive of Rose, the vaudeville troupe manager-mother of Gypsy.
Real plastic trees: James Varney writes on Chanje Kunda’s conversational, autobiographical show about trying to move past trauma.