Editorial by Broderick Chow, Aneta Mancewicz, Ella Parry-Davies, Bella Poynton, and Eleanor Roberts

In the context of her work with Cyrff Ystwyth, a dance-theatre company, Margaret Ames examines kinaesthesic action as an affective and cultural tool that challenges hegemonic distribution of inclusion.

Hancock and Kelly, interviewed by Jennie Klein, on their new performance, An Extraordinary Rendition, with accompanying photos and video excerpts.

Melanie Kloetzel’s post-script ‘Playing Politics’ elaborates on her proposals for site-versatile approaches in performance, which may work to self-reflexively critique conditions of precarity in the neoliberal present.

Drawing on interviews with Clean Break’s co-artistic director Anna Herrmann and playwright Katherine Chandler, Sarah Bartley reflects on representations of women in poverty on the UK stage.

Kirsty Sedgman presents a commentary on Tomlin’s Political Dramaturgies and Theatre Spectatorship, engaging with debates and misunderstandings between empirical and theoretical spectatorship research.

Ian Farnell looks at the idea of “genre snobbery” in relation to contemporary theatre engaging with science fiction. Because in space, nobody can hear you say you didn’t “get” it.