Sleeping alone, together: Frey Kwa Hawking writes on Robert Softley Gale’s ‘extremely localised but fiercely expansive’ digital performance moving through his bedtime routine.
Bodies that matter: Ka Bradley writes on digital dance performances from Splayed Festival, which put focus on disabled and queer bodies, exploring how they negotiate the world.
Lockdown retrospective: Tracey Sinclair reviews James Graham’s play which surveys the summer lockdown through the eyes of a new relationship.
Menace à 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.
Thinking inside the box; Angelo Irving writes on three films that explore the experiences of marginalised women, built around plays from the Theatre Uncut archive.
Broken nights: Lily Levinson writes on Ava Wong Davies and Mandala Theatre’s ‘unsettling and theatrically imaginative’ digital play, exploring sleep disturbance.
‘I hope it works’: Amy Borsuk writes on Zoe Seaton’s playful, interactive online production of Macbeth, which combines theatre and horror film aesthetics through impressive special effects.
A shattered treehouse: Alice Saville writes on the furious emotional intensity of Jason Robert Brown’s story of heartbreak, performed by two actor-musicians.
Bridging the gap: Wambui Hardcastle writes about an online showcase of work by graduating Northumbria University students.
Disembodied voices: Eve Allin writes on Dead Centre’s livestreamed adaptation of a book about making men into machines.
Home from home: Tracey Sinclair writes on an ‘eclectic but entertaining’ selection of ten-minute dramas by emerging writers.
Unreliable connection: Louise Jones reviews a series of short performances exploring isolation and togetherness, co-presented with Opera North.
Internal voices: Lily Levinson encounters Rafaella Marcus’s intimate audio play, performed by Katherine Parkinson.
Sing me to sleep: Hannah Greenstreet reviews an unsettling, discordant set of stories from English Touring Theatre.