Murder most foul: Amy Borsuk reviews Creation Theatre’s Zoom production of John Webster’s revenge tragedy, which successfully walks a tightrope between camp and gore.
Black mirror, black mirror on the wall…: Naomi Obeng reviews a star-laden adaptation of Oscar Wilde’s novel, transposed to the perilous world of social media.
The roaring 2020s: Lilith Wozniak reviews The Wardrobe Ensemble’s inventive filmed adaptation of the F. Scott Fitzgerald classic.
Theatre for the cochlea: Tracey Sinclair reviews a varied set of audio-plays produced by sound designer Danny Krass.
Diluted content: James Varney reviews an audio piece to be experienced in the bathroom that slips through the fingers.
Rambling conversation: Crystal Bennes writes on the nourishing simplicity of Ben Harrison’s promenade performance.
Object lesson: Lilith Wozniak writes on the Edinburgh-based puppetry and visual theatre festival’s experiments in digital physicality.
Living architecture: Andrew Edwards reviews a homage to Glasgow poet Edwin Morgan which takes the audience backstage at the Tron.
Growing pains: Louise Jones reviews Northern Rascal’s outdoor dance piece made with a group of twenty 16-25 year olds from Calderdale.
Grief encounter: Louise Jones reviews Headlong’s ghost story, reimagined as a performance via telephone.
‘A story without an ending’: Andrew Edwards writes on Daniel Kitson’s account of the pandemic, from within the thick of it.
Interactive intrigue: Lilith Wozniak reviews a Zoom-based murder mystery by Bristol theatre company Sharp Teeth.
Lockdown retrospective: Tracey Sinclair reviews James Graham’s play which surveys the summer lockdown through the eyes of a new relationship.
Menace Ã trois: Lilith Wozniak reviews a revival of Pinter’s reverse-chronological adultery drama
Covid culture: James Varney explores the new ways we engage with performance via RashDash’s documentary album, listened to from home.