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.
Picking at scabs: Natasha Tripney writes on two shows that messily subvert Slovenia’s sense of national identity.
“I’m feeling quite exhausted”: Lily Levinson encounters a dance festival that looks at the challenges of expressing care in a contact-starved era.
Object lesson: Lilith Wozniak writes on the Edinburgh-based puppetry and visual theatre festival’s experiments in digital physicality.
Before the flood: Jess Rahman-González reviews Travis Alabanza’s play about friendship and toilets.
Cooking up a storm: Alice Saville reviews a fan-created musical inspired by Pixar’s tale of a talented rodent chef.
Travelling light: Fergus Morgan checks in for a hotel-themed magic show that’s full of flash but missing substance.
“A whole world between my fingers”: An expansive story about food (in)security and seedbanks sprouts from No Stone Theatre’s podcast, writes Frey Kwa Hawking.
Something to count on: Lily Levinson writes on Chris Bush’s collection of stories for and about dark times.
Living architecture: Andrew Edwards reviews a homage to Glasgow poet Edwin Morgan which takes the audience backstage at the Tron.
Low-growling discord: Rosemary Waugh reviews a tense 60th anniversary revival of Harold Pinter’s play.
Bending the rules: Mostyn Jones writes about two works by Hidden Track that play with the conventions of gaming and theatre.
“I seancéd my ass off”: Lily Levinson reviews Luke Bateman and Michael Conley’s one-man musical about ‘sozzled, sweary’, Spiritualist sisters.