Elete N-F responds to How I Learned to Swim by Somebody Jones, embracing the darkness of water and its properties of healing and communality.

Rho Chung interviews theatremakers Diana Feng from Don’t Call Me China Doll and Sierra Sevilla from For the Love of Spam about their Edinburgh Fringe shows, unpacking racial stereotypes, tropes, and the histories that have maintained them.

Anthony V. Capildeo responds to Precious Cargo, a story about the children affected by Operation Babylift during the Vietnam war, by Australian writer-performer Barton Williams (Huynh van Cuong) and Hebridean composer Andy Yearley (Nguyen Tang).

In this Response to Rat Tails (WIP) by Jeremy McClain, Eilidh Akilade details the journey of art criticism, from the inception of an idea in June, to the witnessing of an Edinburgh Fringe show, before the long bus ride home in August.

Katie Goh responds to A History of Fortune Cookies by Sean Wai Keung, looking back on previous iterations of the performer’s work and of her own writing to find value in repetition.

Xandra Sunglim Burns responds to Charlene Kaye’s show ‘Tiger Daughter or: How I Brought My Immigrant Mother Ultimate Shame’, on music, mothers, and breaking the generational curse of assimilation and propriety.

Arusa Qureshi

Beyond the constructs and confines of gender, the divine feminine exists deep within us all. It’s the energy that allows for compassion, nurturing and devotion; an embracing of softness and stillness in all its varying guises. In Danny Bailey’s short film Soft Bwoi, the notion of the divine feminine is beautifully encapsulated through the use of folklore and imagery from Caribbean carnival culture and queerness.

Rho Chung responds to Selkie, a visually sumptuous short film exploring issues of identity and belonging through visual and oral storytelling, by collaborative siblings Niall and India Moorjani.

Lisa Williams responds to The Drift by Hannah Lavery, a poetic journey through history, Scottishness, belonging and grief, and a Fringe of Colour 2020 Commission.

Memuna Konteh responds to Race Cards, a filmic re-production of an in-person installation and performance piece by Selina Thompson, created as a Fringe of Colour 2020 Commission.

Theophina Gabriel talks about the vasts possibilities of virtual theatre, from access to imagination.

Katie Goh responds to FORTUNE online, in which sean wai keung adapts his stage performance about navigating Western and Eastern identities.

Elete N-F responds to CLUB, a vibrant exploration of queer black women forging space for themselves against the landscape of London's nightlife, by Esme Allman.

Rho Chung discusses the differences between engaging with theatre virtually and in-person, asking if it is possible to truly connect from home.

Elete N-F questions how the landscape of theatre and performance art will be changed in the wake of the COVID-19 pandemic and reignited discussions of racism and injustice.