Criticism and debate: Chris McCormack reviews Donald Margulies’s play about a writer and her pupil.
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.
More like a temper-tantrum than a turning-point: Christine Irvine reviews the Tron Theatre’s new production of Yazmina Reza’s comedy.
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.
Singing us out in style: Tracey Sinclair reviews Dom Coyote & the Bloodmonkeys’ apocalyptic gig theatre.
“Gently exposes its audience’s attitudes”: Andrew Edwards reviews an immersive performance examining the spaces where people with disabilities are both users and creators of pornography.
Sensitive, witty and compassionate: Naia Headland-Vanni reviews Documental Theatre’s play about about young fatherhood.
Death. Illness. Identity: Catherine Love reviews the Sick! Festival in Manchester.
A joy to watch: Tracey Sinclair reviews Jessica Swale’s Nell Gwynn, as part of its UK tour.
A rallying cry for the celebration of imagination: Kate Wyver reviews Jack Thorne’s new musical at the Bristol Old Vic.
Putting politics to music: Christine Irvine reviews Drew Taylor’s “cathartic” work as part of the Take Me Somewhere festival.
Extraordinary in its range, excess and incision: Andrew Edwards reviews Jaamil Olawale Kosoko’s “challenging, necessary and entirely relevant” work as part of the Take Me Somewhere festival.
Realist and meta-realist: Chris McCormack reviews Malaprop Theatre’s new work about truth in the modern age.