First published in The Times, Monday December 4 2017
There are a couple of golden rules that must be observed when it comes to staging a winning Christmas show. The first is never to forget the importance of a good story, simply yet effectively told in theatrical form, and in Stuart Paterson’s enduring adaptation of Cinderella, Dominic Hill, the director, and his team at the Citizens are working from a copper-bottomed classic.
First published in The Times, Tuesday November 28 2017
As 2017 is an odd-numbered year, Johnny McKnight is not only writing the pantomime at the Macrobert but also directing and pouring himself in and out of a ludicrous selection of wigs and frocks in his role as dame. The artistic director of Random Accomplice switches between the Stirling arts centre and Glasgow’s Tron at this most wonderful time of the year.
First published in The Times, Monday August 21 2017
Festivals love a good anniversary. When Verdi’s Macbeth was staged at the inaugural Edinburgh International Festival back in 1947, it was to mark the centenary year of the opera’s first ever performance. Seventy years on, this new production, from Teatro Regio Torino, conducted by Gianandrea Noseda, has been programmed as part of the EIF’s own birthday celebrations.
First published in The Times, Thursday August 17 2017
An opera based on the Bigfoot legend is precisely the kind of off-the-wall creative fare on which the Fringe was built. The fact that said experimental opus is the brainchild and passion project of Roddy Bottum, the musician, composer and keyboard player for the hard rock band Faith No More, gives the piece a further curiosity value it might not otherwise have had.
First published in The Times, Monday February 27 2017
For lengthy stretches of David McVicar’s new production of Debussy’s only completed opera, the audience is confronted with a plain black curtain while the orchestra plays between scenes. This element may be borne of necessity: after all, these interludes were written to cover scenery changes. Still, it is a striking feature of McVicar’s production for Scottish Opera that the director repeatedly seeks to facilitate our intense engagement with the music, consistently drawing attention to the ways in which Debussy’s score fills out the ellipses in the enigmatic story.