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.
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 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.