An imaginary conversation between two theatregoers at a mostly-maskless West End show.

Following the release of new film Censor, Natasha Tripney traces the stories of screen violence, from Mary Whitehouse’s outrage to today’s horror theatre livestreams.

Alice Saville writes about the strangeness and specialness of 2021’s smaller-than-ever fringe festival.

“This is not a leveller”: Holly Maples and Allie Young explore the pandemic’s impact on working class artists, as part of the Freelancers in the Dark research project.

Two years after it premiered, seven methods is moving from Royal Court’s studio to its main house. Ava Wong Davies asks its director Milli Bhatia about what’s changed.

It’s still unclear what form 2021’s Edinburgh Fringe is going to take. Alice Saville argues that for the festival to survive, deeper conversation and decisive change is needed.

As theatres reopen, Adam Welsh thinks about how little has changed – and about the potential fpr digital theatre to signal a different future.

Theatres in England reopen in less than a week. Will the past year’s online experiments be forgotten? Fergus Morgan argues that they shouldn’t be.

Playwright Naomi Sheldon chats to Rosemary Waugh about her pandemic pregnancy, sex, and channelling emotional turbulence into action.

Maddy Costa writes about the non-hierarchical reading group that explores big questions about theatre, socialism and power structures.

Louise Jones answers the call of ZU-UK’s phonebox-based performance in her first piece as embedded critic at Compass, the Leeds-based festival of live art

Laura Harris and James Rowson share some initial findings from research project Freelancers in the Dark, charting broken lines of communication, grief, solidarity and hope.