Review: The Last Bordello – Tron Theatre, Glasgow

First published in The Times, Thursday February 15 2018

Three Stars

On entering the auditorium, the audience is handed a “programme” in the form of a crumpled piece of paper that’s festooned with scribbled notes and illustrations. As the house lights go down the curtain slides hurriedly back and forth across the front of the stage, offering a narrow, keyhole-view of the scene within.


Such novelties might provoke a few raised eyebrows among the uninitiated, but followers of the work of David Leddy and Fire Exit are accustomed to expecting the unexpected. This, after all, is the writer and director who conducted his audience around the bowels and backstage of the Citizens Theatre for his gothic melodrama, Sub Rosa, and invited us to don kimonos and sit within a circle of origami birds as the action unfolded on the Japan-inspired White Tea.

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Review: International Waters – Tron Theatre, Glasgow


First published in The Times, Saturday March 26 2016

Three Stars

At first glance, the new play from David Leddy looks not at all the kind of thing we’ve come to expect from the most audacious of Scotland’s contemporary theatre-makers. We open on a luxurious function room, into which tumbles a quartet of upper crust characters in white tie and cocktail dresses. There’s a trophy wife (Claire Dargo), a self-important crooner (Robin Laing), a celebrated photojournalist (Lesley Hart) and a senior bureaucrat (Selina Boyack).

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Review: The Course of True Love – The Lemon Tree, Aberdeen

First published in The Times, Thursday November 19 2015

Three Stars


Over the past decade, David Leddy, the artistic director of Fire Exit, has built up a deserved reputation for innovation. His previous works include a site-specific webcast streamed live from his Glasgow flat and an immersive play, set in Japan, for which the audience was invited to sip white tea while wrapped in kimonos. In this context, his latest work, a two-hander with a single-room setting, looks like a radical departure.

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