On the line: Louise Jones writes on 600 Highwaymen’s intimate, exposing piece which takes place on a phone call with a stranger.
Extremely online: Ava Wong Davies falls into the unsettling world of Phoebe Eclair-Powell’s internet satire.
Modernist montage: Lilith Wozniak reviews a fragmentary feature film pieced together from 100 artist commissions by Impermanence Dance.
Grey matter: Harvey Bassett reviews a digital installation from New Perspectives in the form of a ‘deluge’ of voices from a nursing home.
An empty space: Tracey Sinclair reviews a triptych of audio works responding to the physical space of Newcastle’s Alphabetti Theatre.
“Noisy, shiny, theatrical chaos”: Farah Najib immerses herself in the youth-led finale of Royal Court’s online series.
Maddy Costa reflects on Battersea Arts Centre’s collection of short films exploring motherhood – ‘that overwhelm of expectation, that you are all things to all people’.
Same as it ever was: Hailey Bachrach reviews the RSC’s long-delayed take on Shakespeare’s play, as shown on BBC4.
Now you see me: Louise Jones reviews a film by performance maker and magician Augusto Corrieri, made in response to a cancelled 2020 tour.
Outside in: Frey Kwa Hawking writes on the second of the Orange Tree’s livestreamed collection of short plays, which ‘draw a thick line between where we’ve come from and where we’re going’.
New horizons: Tracey Sinclair reviews a trilogy of quest-themed short plays by Stewart Melton.
Hot off the press: Hannah Greenstreet reviews the Royal Court’s eclectic online experiment in rapid-response theatre.
Eye contact: James Varney writes on liveness in Rob Drummond’s unsettling, loss-tinged open mic night.
Two can play that game: Holly Williams teams up with her brother Lyall to review Riptide’s ambitious week-long code-cracking adventure.
Writing history: Lilith Wozniak writes on the role of storytelling in Giles Terera’s radio play about the 1781 Zong slaveship massacre and the fight for abolition.