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 delicate unpredictability of the plinth: Paul Hughes reviews Evangelia Kolyra’s performance in the Lace Market Gallery, as part of Nottdance 2017.
Moving in the public space: Paul Hughes reviews Sioned Huws’ work performed in Sneinton Market in Nottingham city centre.
What does it means to have a practice, to do a practice? Paul Hughes reviews Lucy Suggate’s work inspired by the words of Isadora Duncan.
Massaging the hypnotic organs: Paul Hughes reviews Matthias Sperling’s performance lecture at Nottdance 2017.
An all-female punk ceilidh: Paul Hughes reviews Brocade by Roberta Jean on the first night of Nottdance 2017.
Who is being looked at, and who is doing the looking: Paul Hughes reviews an installation work in the Prospect Room of Wollaton Hall as part of Nottdance 2017.
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.
Making fools of us all: Chris Collins reviews Fiona Buffini’s glam rock update of Thomas Middleton.
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.
A wish fulfilment fantasy of the Leave campaign: Peter Kirwan reviews Anthony Shaffer’s revenge play.
“An indictment of civic hypocrisy”: Peter Kirwan reviews Ramps on the Moon.