‘Joyful sincerity’: Pete Kirwan writes on an earnest, escapist panto that brings the 12th century into the 21st.
Holding fiction to account: Peter Kirwan writes on the representation of madness in Nottingham Playhouse’s revival of Alan Bennett’s play.
‘Demons in the attic’: Peter Kirwan writes on Kindertransport’s portrayal of the immigrant experience
More to life than love: Peter Kirwan reviews the Nottingham Playhouse’s first musical in over a decade.
And what an atmosphere… Peter Kirwan reviews Mufaro Makubika’s award-winning play set in 1950s Nottingham.
Digging down: this family-friendly adaptation of Louis Sachar’s novel isn’t afraid of asking big questions.
Silence and noise: Peter Kirwan reviews Ramps on the Moon’s new show based on a text familiar to A-Level Theatre Studies students.
Never cross a picket line: Peter Kirwan reviews the triumphant regional premiere of Beth Steel’s play about Welbeck Colliery
Memories of memories: Jane Upton’s one-woman play is touching and thoughtful.
Less a show, more an institution: Peter Kirwan reviews Nottingham Playhouse’s annual panto.
An extraordinary coda: Giles Croft marks the end of his tenure at Nottingham Playhouse in poignant style.
“A self-consciously messy, freeform paean to the experience of making music”: Peter Kirwan reviews Sheep Soup’s boldly structureless new musical at Leicester’s Curve Theatre.
“Give this group a TV show”: Peter Kirwan reviews Nottingham-based comedy collective Major Labia’s nameless sketch show at Leicester Curve’s Inside Out festival.
Devastating and dignified: Peter Kirwan reviews Fiona Buffini’s timely revival of Arthur Miller’s classic American drama.
Forget heteronormativity: Sara Pascoe’s hilarious reimagined Jane Austen romance breaks all the rules.