Courtesy of Ami Robertson.

Power forms a significant part of our lives on both an individual and collective level, a fascinating entity shaping our daily interactions with one another. Born in 2016, after reading a piece in which the topic of power appeared to form the full stop of a larger conversation, cultural thinker and researcher Suzanne Alleyne was inspired to draw on this phenomenon further. Her ongoing research project The Neurology of Power, focusing on the neuroscience behind power. Feeding into this research project, Suzanne, alongside the Barbican Theatre present talk series Can we talk about Power?, a series comprising of various discussions with a distinguished panel of neuroscientists and creatives. Ahead of the event, Suzanne tells us more about what to expect.

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With theatres returning to live audiences again, we emerge from the pandemic with a new hybrid approach – shows becoming increasingly accessible to watch online. Recognising a gap in the market for theatre online, Marquee TV was launched in 2018, a platform showcasing dance, opera, theatre, music and live performance from some of the world’s most recognised organisations including the Royal Shakespeare Company and the Royal Opera House. Currently available to access online, as well as on App Store, Google Play, Apple TV, Fire TV amongst others, co-founder Simon Walker tells us more about what to expect from the platform.

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Returning with their debut season of online work, The Old Market present Reigning Women, a season seeing in a new era of work, celebrating both established and rising stars. Forming part of this important celebration, the aptly named event Phoenix from the Flames will front the season; an eclectic evening of music and spoken word featuring performances from Alice Russell, Scarlett Fae, Jenny Foulds and Phonetic. Ahead of the event, soul singer Alice Russell tells us how it feels to be back rehearsing and performing in a live space, what she’s taken away from this very unique point in time and what to expect from the evening.

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Within the past two decades, reality TV gameshows have formed a significant part of popular culture, the concept of relatable characters becoming household names a fascinating premise. Inspired by the genre, immersive theatre company Objective Entertainment have crafted their very own interactive experience THIS IS REALITY 2000, a Zoom based event, curated for a group of up to 12 participants who partake in a series of social games. Currently available to organise and book now, co-founders Christopher Adams and Dean Elliott tell us more about exploring the reality TV genre further, creating the show for Zoom and why they’re determined to perfect the immersive show format.

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With online platforms providing a means of communication and connection with the wider world during a time of isolation, a year on post the pandemic, we’ve witnessed a significant cultural shift towards utilising technology to work and interact. Drawing on this shift, ZU-UK present Project Perfect Stranger – a WhatsApp experience encouraging participants to work together to complete various tasks and The PlagueRound Game Show, a Game Show – taking place after Project Perfect Stranger – played out via Zoom whereby participants reveal who they are to eachother and viewers for the first time. Ahead of the experience, director Jadé Maravala tells us more about both experiences.

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Nearly a year on since our first national lockdown due to the pandemic, a world post Covid has drastically shaped how we currently live, our realities more so isolated and experienced from a distance in comparison to life before, digital platforms becoming increasingly vital to how we work and connect. Tapping into this new era, writer and performer Eden Harbud of Nod At the Fox responds to this new normal with spoken word piece Breaking Up With Reality – an audio show grasping ‘what was’ and ‘what now is’.

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With a significant rise in the number of referrals and reporting of domestic violence incidents, the dangers faced by victims have become increasingly apparent during lockdown. Highlighting the voices of those who have been victims of domestic violence, writer Safaa Benson-Effiom, alongside a team consisting of Director Lucy Dear, Producer Cheryl Ndione and supported by Wellbeing Practitioner Lou Platt amongst other creatives present ‘All in Your Head’ a one woman show based on real accounts. Ahead of the production, Safaa tells us more about this important watch.

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Crafted from transcripts for an assessment for the Department of Work and Pensions, HERA Theatre’s ‘We Ask These Questions of Everybody’, to stream online on Friday 29th January 2021, highlights the mental, social and financial pressures faced by disabled people in the UK, especially during this very difficult time. Presented as a verbatim opera, the online production offers an insight into a community often underrepresented. Visual Artist Laura Spark –  who specialises in animations, projections and live visuals tells us more about her process for creating creative captioning for the show.

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Crafted from transcripts for an assessment for the Department of Work and Pensions, HERA Theatre’s ‘We Ask These Questions of Everybody’, to stream online on Friday 29th January 2021, highlights the mental, social and financial pressures faced by disabled people in the UK, especially during this very difficult time. Presented as a verbatim opera, the online production offers an insight into a community often underrepresented. Composer, musician and artist Amble Skuse – whose work involves working with a variety of texts which she then fuses with musical elements, tells us more about her creative process for the show.

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A distinctive part of early 21st century dating, dating apps have shaped how we interact, connect and meet up with prospective partners in the digital era. Tapping into this phenomenon in her debut show ‘Manimals’, game producer Michelle Hudson explores dating, loneliness and the struggle to connect within our digital age. Ahead of the multimedia experience, to take place on Zoom initially in the UK from February and Canada from March, Michelle tells us more about the technical elements of the interactive piece.

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