Theatre review: Life is a Dream – Lyceum, Edinburgh

First published in The Times, Wednesday November 3 2021

Four Stars

Jo Clifford’s translation of Life is a Dream was originally due to be staged at the Lyceum back in May 2020. In the intervening period, when at times everyday life has taken on the character of nightmare, Pedro Calderón’s classic of the Spanish Golden Age has only acquired new potency.

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Review: Richard III – Perth Theatre

First published in The Times, Monday March 26

Four Stars

Some Richards are so grotesquely charismatic that they overwhelm everything else onstage. This was the case with Lars Eidinger’s performance as the Machiavellian prince in Thomas Ostermeier’s acclaimed production of Shakespeare, which stopped off at the Edinburgh International Festival a couple of years back. The German actor exploded the stage at the Lyceum with a raucous turn that included berating members of the audience and enticing the entire house into chanting along with his most profane lines.

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Review: Ghosts – Tron Theatre, Glasgow

First published in The Times, Tuesday October 13 2015

Two Stars

Ibsen’s naturalistic social drama was famously described by one early critic as “a loathsome sore unbandaged”. Megan Barker’s modernised version, currently playing at the Tron, attempts to up the ante, opening with a bloody collision with a deer and advancing through a roll call of pathologies – paedophilia, adultery, alcoholism and drug addiction – to the play’s grotesque final scenes. Yet, despite all the violence and profanity on display, the tone achieved in Andy Arnold’s production is more akin to histrionic soap opera than a ghost story with unsettling contemporary resonance.

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Review: Titus Andronicus – Dundee Rep

Published in The Times, Thursday April 16 2015

Four Stars

Shakespeare’s early revenge tragedy was considered theatrically beyond the pale until recently, and it’s not hard to see why. Riven with scenes of torture, rape, dismemberment, brutal murder and cannibalism, it takes a special kind of talent to prevent the bloodbath that takes place onstage from seeming gratuitously nasty or, worse, unintentionally funny.

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