Internal logic: James Varney writes on Darkfield’s trilogy audio works, which deliver chills with mixed success.

Floating in the void: Eve Allin writes on an innovative, unsettling text-based reimagining of Caroline Horton’s play.

‘To be responsive is to be quick on your feet but no less considered for it’: Frey Kwa Hawking writes on Roy Williams and Clint Dyer’s agile sequel to Death of England.

Hockey, tea-towels and God: Lily Levinson reviews a ‘careful and delicate production’ of Margaret Perry’s radio play about a burgeoning teenage romance.

Smoke and mirrors: Fergus Morgan writes on a Zoom magic show that doesn’t pull off all its tricks.

“Whose eyes are being opened?” Angelo Irving writes on a narrative of systemic racism in Scotland that feels all too familiar.

Missed connections: Alice Saville and Hannah Greenstreet have a phone conversation about Coney’s interactive telephone exchange performance.

Kitchen-sink drama: Ava Wong Davies reviews Forced Entertainment’s domestic, unexpectedly moving retellings of Shakespeare’s plays.

A nihilistic vision of love: Eve Allin reviews Tinuke Craig’s seismic production of Sarah Kane’s visual poem.

Sleeping alone, together: Frey Kwa Hawking writes on Robert Softley Gale’s ‘extremely localised but fiercely expansive’ digital performance moving through his bedtime routine.