‘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.
The lay of the land: Tracey Sinclair reviews Daniel Bye and Boff Whalley’s ode to hill running and the Kinder Scout mass trespass.
‘Defiant optimism’: Tracey Sinclair reviews a trio of films installed at Newcastle’s Alphabetti Theatre centring neurodivergent artists.
An empty space: Tracey Sinclair reviews a triptych of audio works responding to the physical space of Newcastle’s Alphabetti Theatre.
Home from home: Tracey Sinclair writes on an ‘eclectic but entertaining’ selection of ten-minute dramas by emerging writers.
Seeds for the future: Tracey Sinclair writes on Live Theatre’s showcase of developing work from emerging makers from the North East and beyond.
Hat trick: Tracey Sinclair reviews Mike Edwards’ ‘smart and eloquent’ solo show which smiles through grief.
Untaught history: Tracey Sinclair writes on Phoenix Dance Theatre’s unravelling of two instances of British colonial violence.
Know your history: Tracey Sinclair reviews Alexis Gregory’s one-man show channelling the history of LGBTQ+ activism.
The skull in the backpack: Tracey Sinclair reviews Sorcha McCaffrey’s autobiographical show about the realities of living with OCD.
‘Teenage dreamscape’: Lauren Vevers reviews The Paper Birds’ irreverent, nostalgic gig-theatre piece drawn from letters written by teenagers.
Same old story: Tracey Sinclair writes on an ‘impressively slick’ solo show which falls into the trap of giving oxygen to its narrator’s toxic outlook.
Unravelling grief: Tracey Sinclair reviews a touring production from Graeae of Winsome Pinnock’s play unspooling a tragic event.
Life story: Tracey Sinclair writes on Umar Butt’s charming, personal show about his grandmother’s life, set during the Partition of India.