Celebrating Grime’s 20 year journey, a music form deriving from an array of other UK based genres such as Garage and Funky House, HighRise Theatre’s Dominic Garfield recognises the need to highlight contributions made – particularly by women within the genre as well as showcase how the form continues to evolve. Currently enjoying mainstream success, it’s important to learn about the genre’s past, as well as its present, and to celebrate those who don’t receive the recognition that they deserve, as it is those who often help shape the culture. Ahead of digital theatre rave Lil.Miss.Lady taking place on Friday 23rd October via Contact, Manchester Theatre, Dominic tells us more about what to expect from the show.

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Due to showcase new work earlier on in the year, RUMAH have adapted their festival into an online event – a mixture of spoken word, scratch performances and comedy skits highlighting Asian voices, advocating for much needed representation on our stages. Presenting #RUMAHFest Online, founder and producer Nur Khairiyah talks about how she’s adapted to the current climate as a theatre maker and freelancer, the importance of creating these types of platforms and spaces for artists and her hopes for the festival moving forward.

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Originally situated in Limehouse, the East End of London before the Second World War, Chinatown – now currently situated just off Shaftesbury Avenue since the 1970s in West Central London has continued its tradition of being an important cultural hub for the Chinese community as well as being an iconic fixture of the West End. Initially shown as part of Chinese Arts Now’s inaugural festival in 2019, Donald Shek’s Augmented Chinatown fused a real life tour with imaginative augmented reality structures – an inventive work exploring beyond the physical boundaries of Chinatown. Awarded a Digital Commission this year to develop his work, Donald tells us more about his updated Augmented Reality 2.0 – a virtual tour/audio drama available on Google Play and the Apple Store from 15th September.

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For the last 15 years, Chinese Arts Now have been committed to presenting works focusing on contemporary Chinese perspectives. Recognising that there was a lack of shows presenting their narratives, CAN have established a network of partner organisations such as the Southbank Centre, Soho Theatre and the Young Vic amongst others who have supported the presenting of their work. Last year welcomed a new addition to CAN, the Chinese Arts Now Festival “dedicated to showcasing to the public performing arts that explore contemporary Chinese themes, perspectives and art forms. CAN Festival 2019 showcased a diverse range of art forms (music, drama, live art, dance, films, digital arts) with over 60 events across London“. Adapting to current theatre closures due to the Covid crisis, CAN are currently supporting artists with their ‘Digital Commissions’ initiative. CEO & Artistic Director of Chinese Arts Now An-Ting Chang tells us more about the festival and the commissions.

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From Friday 24th July until Sunday 16th August, the Electric Dreams Online Festival will showcase various works responding to the digital world we find ourselves in. A mixed programme of web-native theatre, music and experiences, Electric Dreams explores the use of social media, audio, visual, mapping and Virtual Reality as a means of telling stories. Taking part in the latest edition of the festival are composer Jamie Perera, artist-filmmaker Katharine Round and journalist Leah Borromeo with their audio-visual experience Twelve Thousand Years in Fragments – an addition to their Climate Symphony Project. Ahead of the experience, the collective tell us more about what to expect!

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From Friday 24th July until Sunday 16th August, the Electric Dreams Online Festival will showcase various works responding to the digital world we find ourselves in. A mixed programme of web-native theatre, music and experiences, Electric Dreams explores the use of social media, audio, visual, mapping and Virtual Reality as a means of telling stories. Taking part in the latest edition of the festival is Abhi Arumbakkam with her inventive show Small Screen Lives, a piece taking place across social media and highlighting 3 different stories. Ahead of the festival, Abhi talks to us about what to expect!

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Within the past year, the way in which we’ve consumed live art has changed; due to the closure of arts venues, creatives within arts industries have had to adapt their work digitally, online platforms providing a space for audiences to connect. A response to our current climate, the Electric Dreams Online Festival showcases a mixed programme of web native theatre, music and immersive experiences exploring the use of various digital technologies from social media to Virtual Reality (VR). Curated by award winning immersive and interactive curators and co-founders of Crossover Labs Mark Atkin and Tom Miller, both tell us what we can expect from the online festival!

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In a matter of months, the theatre industry have had to quickly adapt to how they engage with their audiences post the Covid-19 pandemic. An industry whereby live art is integral, the digital space has become new ground for platforming thought provoking creative works and reaching wider audiences. Launching their House to House online initiative, Brixton House in collaboration with LIVR showcase a series of plays filmed in 2018 – Random Selfies by Mike Kenny and WHITE and GREY by Koko Brown. Brixton House tell us more about the initiative and how they envision theatre moving forward within our digital age.

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As the theatre industry, upon many other industries have suffered closures due to the Coronavirus outbreak, collectively we’re experiencing a period of uncertainty. With venues postponing performances until future notice, online streaming platforms offer the perfect alternative for theatre lovers looking for the latest theatre productions to catch up on.

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The Shape of Pain made its debut at the Edinburgh Festival Fringe, and went on to win a Fringe First Award. Since then, the show has received critical acclaim for its unique capturing of Director Rachel Bagshaw’s personal experiences of living with Complex Regional Pain Syndrome (CRPS). A crucial piece of theatre showcasing just how powerful the integration of technology can be, the show is a culmination of carefully crafted sound, lighting and video and projection design. Ahead of the show’s return to Wilton’s Music Hall before embarking on a UK tour, Theatre & Technology Award winning Video and Projection Designer Joshua Pharo discusses further about the show’s collaborative creative process.

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