Screwed-up Shakespeare: Ava Wong Davies reviews Ola Ince’s take on the much-adapted teenage love story.
Reworked intimacy: Mostyn Jones reviews a series of films by emerging artists exploring touch from different perspectives
The lay of the land: Tracey Sinclair reviews Daniel Bye and Boff Whalley’s ode to hill running and the Kinder Scout mass trespass.
“Repeat, but always with a difference”: Mert Dilek writes a variation-filled response to Nick Payne’s play.
Keeping it together: Sally Hales reviews Shôn Dale-Jones’ deftly-woven storytelling piece about creativity, family and death in the wake of the pandemic.
A gig economy: James Varney writes about Lauryn Redding’s queer love story, and the fragile structures it explores.
The time is out of joint: Brendan Macdonald writes on Kimberley Sykes’s streamlined production, which captures the ‘frustrated, steely impatience of young love’.
Connection is a form of rebellion: Farah Najib reviews Amanda Wilkin’s Verity Bargate Award-winning exploration of loneliness and healing.
What’s in the box?: James Varney reviews Requardt and Rosenberg’s sci-fi dance piece performed from inside a haulage truck.
Performing masculinity: Mostyn Jones reviews Majid Mehdizadeh’s autobiographical show about his relationship to anger.
Pastoral disillusionment: Lilith Wozniak reviews Malaika Kegode’s gig-theatre memoir of young friendship in rural Devon.
Touching the void: Brendan Macdonald writes on Dante or Die’s interactive exploration of touch, which is a reminder of theatre’s ‘ability to provoke deep, intimate connections between audience and performer’.
A cosmic filing cabinet: Alice Saville shifts through her memories of Headlong and National Theatre’s show about what lives on.
Animal studies: Farah Najib delights in the perfectly-observed performances of National Youth Theatre’s farm-based fable.
Digital ritual: Naomi Obeng writes on a cornucopia of offerings from Glasgow’s DIY live art festival.