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.
“Under it all seethes the writer’s anger”: Peter Kirwan reviews Daniel Hoffmann-Gill’s work at the Nottingham Playhouse.
Peter Kirwan has “a dizzying, hilarious evening” watching Blanche McIntyre’s Noises Off.
“A quiet slip into darkness… as she slowly blows out her candles.” Peter Kirwan reviews Tennessee William’s classic at the Nottingham playhouse.