Theatre review: With You in the Distance – EHG Theatre, Glasgow Green

Standard

First published in The Times, Friday July 23 2021

Four Stars

Scotland’s theatre makers are finding increasingly inventive ways of reconfiguring work for outdoor spaces, with shows due to open soon in a car park, on a beach and on a caravan site.

This new piece from the Glasgow-based EHG Theatre is a hybrid of walking tour and monologue that uses a diverse portion of the city as both backdrop and setting.

Continue reading

Theatre review: The Wind in the Willows – Pitlochry Festival Theatre

Standard

First published in The Times, Thursday July 15 2021

FOUR STARS

Could there be a more superlative setting for a production of The Wind in the Willows than the banks of the Tummel? There have of course been numerous stage adaptations of Kenneth Grahame’s classic, but few can boast an actual riverbank as the backdrop to the adventures of Ratty, Mole, Badger and Toad.

Elizabeth Newman and Ben Occhipinti’s production, from a new script by Mark Powell, stays faithful to the spirit if not the letter of the original, sustaining a good balance between action and hi-jinks with some quieter, more reflective scenes. Powell makes a few tweaks to the story, adding extra dimensions to the conflict between the four chums and the Wild-Wooders and in the process touching upon land use and ecology, creating a timely edge to the piece.

Continue reading

Theatre review: Twelfth Night – Botanic Gardens, Glasgow

Standard

First published in The Times, Tuesday July 13 2021

THREE STARS

Spontaneous applause breaks out at the announcement welcoming everyone to the new season of Bard in the Botanics. It has been nearly two years since audiences last gathered on the grassy rise behind the glasshouses in the Botanic Gardens, Glasgow, for the venerated Shakespeare festival.

As a specialist in outdoor performance, this company, led by Gordon Barr, the artistic director, may have an advantage over its contemporaries as theatre in Scotland slowly emerges from its Covid-era hibernation.

Continue reading

Theatre Review: Adventures with the Painted People – Pitlochry Festival Theatre

Standard

First published in The Times, Monday June 14 2021

FOUR STARS

Live theatre in Scotland in a time of Covid has come full circle. Pitlochry Festival Theatre’s exuberant production of Neil Simon’s Barefoot in the Park was the last show to open north of the border before the national lockdown, its run at the Perthshire theatre coming to an abrupt end after a brace of performances.

Sixteen months on, the theatre is bouncing back with a wide-ranging programme of outdoor shows, promenade performances, monologues and musical recitals. While borne out of necessity, this 70th anniversary season’s alfresco flavour is apposite for a company that began life in a tent by the Tummel.

Continue reading

Review: The Metamorphosis – Tron Theatre, Glasgow

Standard

First published in The Times, Tuesday March 17 2020

Five Stars

Vanishing Point, the Glasgow-based theatre company led by Matthew Lenton, tends to develop much of its acclaimed, highly distinctive work in rehearsal, often creating radical versions of plays such as Maurice Maeterlinck’s Interiors and John Gay’s The Beggar’s Opera. However, the company’s stunning take on Franz Kafka’s novella The Metamorphosis (in collaboration with the Tron and Italy’s Emilia Romagna Teatro Fondazione) is remarkably faithful to its source, and it marks a culmination of Lenton’s concerns and signature style.

Continue reading

Review: Maim – Tron Theatre, Glasgow

Standard

First published in The Times, Thursday March 12 2020

Four Stars

There is so much going in this collaboration between Theatre Gu Leòr and the band Whyte that it comes as something of a surprise to realise that the show’s running time is a tight 75 minutes. Maim blends movement, story vignettes and multimedia with the band’s characteristic fusion of electronica and Gaelic song to explore life in Scotland’s far-flung communities, notably the fragile status of the Gaelic language and culture. The result is a unique hybrid that works its spell slowly, exerting a powerful pull.

Continue reading

Review: The Importance of Being Earnest – Perth Theatre

Standard

First published in The Times, Monday March 9 2020

Four Stars

Creating a truly original production of Oscar Wilde’s great comedy is no easy task. Its very familiarity is a major part of its popularity. Much of the dialogue is so axiomatic that you can almost hear the audience pre-empting the actors.

Continue reading

Review: Mrs Puntila and Her Man Matti – Royal Lyceum, Edinburgh

Standard

First published in The Times, Thursday March 5 2020

Two Stars

On paper this gender-swapped version of Bertolt Brecht’s 1940 comedy looks intriguing. The novelist Denise Mina adapts, with the redoubtable Elaine C Smith in the lead and the award-winning Turkish director Murat Daltaban at the helm. Yet while the production features some fine flourishes, there is no escaping the overall sense of a messy and incoherent assemblage.

Continue reading

Review: The Secret Garden – Eastwood Park Theatre, Giffnock

Standard

First published in The Times, Wednesday February 26 2020

Four Stars

Frances Hodgson Burnett’s novel was only a minor success when it was first published in 1911, but its reputation has since eclipsed that of her other books for children. The young protagonists are gratifyingly complex, there is a gothic edge to the atmosphere and there is something timeless in the story’s themes of healing and rejuvenation.

Continue reading

Review: Quality Street – Viaduct Theatre, Halifax

Standard

First published in The Times, Monday February 24 2020

Three Stars

Halifax, the home of Northern Broadsides, is a fitting place from which to launch a revival of JM Barrie’s 1901 romantic comedy. The Quality Street factory, where the Purely Purple Ones and Strawberry Delights continue to be made, is a landmark in the town, and a poignant reminder that this now neglected play was once so popular that it inspired a line of chocolates.

Continue reading