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.
“Invites us to share in a long wallow with a man consumed by self-pity”: Peter Kirwan discusses Matthew Spanger’s adaptation of Khaled Hosseini’s novel.
A careful balance of farcical comedy and shocking drama: Peter Kirwan reviews Suba Das’ Northern Stage revival of Ayub Khan Din’s much-loved play.
Still transcendent: Peter Kirwan revels in Bruce Guthrie’s “energetic” 20th-anniversary revival of this Broadway classic, structural flaws and all.
Energy, volume and trippy exuberance: Peter Kirwan reviews Ramps on the Moon’s superb new version of The Who’s Tommy.
Peter Kirwan reviews a production “torn between its desire to tell a specific emotional story and its impulse to universalise this narrative”.
The rituals of folding, arranging and place-setting: Peter Kirwan reviews the Nottingham Playhouse’s fortieth anniversary production of Stephen Lowe’s Touched.
The things that can and can’t be said: Peter Kirwan reviews Jane Upton’s “deeply affecting” play about child sexual exploitation.
A plea for a community to heal itself: Peter Kirwan reviews New Perspectives’ staging of a John Harvey crime novel.
Failing to dig any deeper: Peter Kirwan reviews Nick Wood’s play about the 5th Duke of Portland.