Every sun-dappled object is an instrument as composer Dom Coyote and sound designers Elena Peña and Dave Price conjure trip-hop-inspired rhythms in the Mendips for a new stage adaptation

The woodland is stuck to our skin. Sound designers Elena Peña and Dave Price are hunched next to me, burying a microphone into mossy ground. Composer Dom Coyote is listening on headphones, crunching out a rhythm with his boot before shucking his shoes for a subtler sound. “It’s got to be socks off, Dom,” says Price. Coyote obliges, the balls of his feet soon covered in dead conifer needles. “Do you wish you’d had a pedicure now?” Peña asks.

It’s a short drive from Bristol to this patch on the Mendip Hills, where pine cones and rowan berries scatter at the entrance to the trees. We’re on the hunt for sounds to orchestrate a staging of Max Porter’s novel Lanny. The adaptation by Somerset-based Bea Roberts moves the spectral story of a lost boy and a mulch-guzzling creature from commuting-distance-to-London to commuting-distance-to-Bristol, with director Nancy Medina wanting the show’s sound to exist within the city’s historical music scene. “A kind of trip-hop world,” says Coyote, who is exploring this idea by replacing electronic beats with those of the natural world. “So we need to go and play the forest.” Every sun-dappled object becomes an instrument. Up on his feet, Price tests out a rhythm on a deep-timbred trunk. He points to the tree. “Any notes for the snare drum department?”

Battersea Arts Centre, London
Women up for a role as Chekhov’s aspiring actor navigate their meetings with a needling director in a tense show

Smile. Introduce yourself. Say you’re such a big fan. Now do whatever he tells you. These are the unspoken rules the women follow as they take turns auditioning in Caroline Williams’ discomforting, rage-fuelled production about men and power and rotting winged roadkill.

The women are auditioning for the role of Nina, the aspiring actor in Chekhov’s The Seagull, in an experimental production directed by sombrely pretentious wunderkind Goran (a brooding Rowan Polonski). Using live-feed cameras in his show, he is the type of director to dismiss the need for an intimacy coordinator while claiming credit for having one in the room.

Bush theatre, London
Mei Leng Yew’s play veers between humour and horror as a young woman ignores her mum’s warning about big life changes during a ghost festival

With shapeshifting performances and smart, heartfelt writing, Mei Leng Yew’s juicily spooky romcom is a seductively assured debut about second-generation family dynamics, the all-in nature of a new relationship, and the internal battles of a young woman trying to work out what she wants.

You must not make any big decisions during the traditional Chinese Ghost festival, our protagonist’s mum warns, or else the hungry ghosts will get you. But Girl (My Neighbour Totoro’s Mei Mac) already has her bags packed to move in with her secret girlfriend of three months and nothing is as powerful as lesbians ready to U-Haul. Except perhaps a third-wheeling ghost with severe attachment issues, played giddily by Bridgerton’s Isabella Wei.