Gabe Cohen reviews The Debate Society’s new play, connecting two different Chicago world’s fairs.
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.
The use of the word ‘immersive’ is not only justified but used for more than marketing purposes: Ka Bradley has dinner in the world of Eugène Ionesco.
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.
Beige bodystockings and Super Ted: Anna Winter reviews a new triple bill of works danced by Sergei Polunin at Sadler’s Wells.
Massaging the hypnotic organs: Paul Hughes reviews Matthias Sperling’s performance lecture at Nottdance 2017.
Dan O’Neil reviews Rachel Bonds’ “nighttime play with songs.”
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.