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.
A beautiful, addictive world: Rebecca Latham reviews April de Angelis’s adaptation of Elena Ferrante’s Neapolitan novels.
An evocative minefield of violence, sexuality and loneliness: Brendan Macdonald reviews Scottee’s new show about working class masculinity.
From ‘anarcho-punk ballet’ onwards: Ka Bradley reviews a double bill from Julie Cunningham and Company.
Coming down to earth: Rosemary Waugh reviews Steven Cantor’s film about ballet dancer Sergei Polunin.
The Assembly looks back on 1960’s protest and action in HOME/SICK.
An alien gives the audience some unsatisfying hickeys, courtesy of Ken Urban. Lane Williamson reviews.
When Harry met Daniel met Tom: Rosemary Waugh reviews the 50th anniversary production of Tom Stoppard’s riff on Hamlet.
“Once upon a time…” Arjun Sajip reviews Lilac Yosiphon’s play about long-distance relationships during wartime.
Hits the contemporary spot: Amelia Forsbrook reviews Sean Foley and Phil Porter’s adaptation of Molière.
A sense of teenage spirit: Rebecca Latham reviews a revival of Jack Thorne’s Bunny.
Singing us out in style: Tracey Sinclair reviews Dom Coyote & the Bloodmonkeys’ apocalyptic gig theatre.
A child-like and vulnerable creature: B. L. Sherrington reviews Tristan Bernay’s adaptation of Frankenstein.
Guillermo Calderón puts teeth in a question of historical memory. Molly Grogan reviews.
A powerful performance by Obi Abili overcomes O’Neill’s racism in Irish Rep’s new production. Patrick Maley reviews.