The delicate unpredictability of the plinth: Paul Hughes reviews Evangelia Kolyra’s performance in the Lace Market Gallery, as part of Nottdance 2017.
A thing of then and now and whatever the hell might be next: Catherine Love reviews Cock and Bull, two years on from when it was made.
Moving in the public space: Paul Hughes reviews Sioned Huws’ work performed in Sneinton Market in Nottingham city centre.
Ancient Greece set to synth pop: Tracey Sinclair reviews Pecho Mama’s retelling of the Medea myth.
Intense claustrophobia: Elena Angelides reviews Simon Stephens’ adaptation of A Doll’s House.
Penmanship: Rosemary Waugh reviews Stephanie Riding’s work about writing to male prisoners on death row.
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.