Review: Gut – Traverse Theatre, Edinburgh

First published in The Times, Friday April 27 2018

Three Stars

Clearly, there is something in the zeitgeist. From Outnumbered to Motherland, there has been a steady trickle of television sitcoms in recent years lampooning the chaos, guilt and tedium of modern parenting. Frances Poet’s latest play occupies the same gaudy terrain of soft play centres, nurseries and adventure playgrounds. Yet, aside from one amusing sequence involving a tussle between two adults over a Kermit the Frog figurine, its mood never strays far from the dark end of the spectrum.

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Review: This Restless House – Citizens Theatre, Glasgow

First published in The Times, Thursday May 5 2016

Four Stars

There’s a wealth of Greek literature in Scottish theatre at present. The blood is still wet on the stage at Edinburgh’s Royal Lyceum (during the current run of Chris Hannan’s adaptation of Homer’s Iliad), as the curtain begins to rise on this ambitious reimagining of Aeschylus’s Oresteia trilogy, with a punchy, contemporary version of the text by the playwright Zinnie Harris.

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Review: Paul Bright’s Confessions of a Justified Sinner – Queen’s Hall, Edinburgh International Festival

First published in The Times, Friday August 21 2015

Four Stars

James Hogg’s 1824 novel The Private Memoirs and Confessions of a Justified Sinner is a key text of the Scottish literary canon: its fingerprints can be seen on everything from Stevenson’s Jekyll and Hyde to the performance videos of Douglas Gordon. Yet this co-production from Stewart Laing’s Untitled Projects in association with the National Theatre of Scotland and Tramway is no reverent adaptation. This, after all, is the director and company that brought us the immersive The Salon Project and a version of Genet’s The Maids that cast young men in the leads and featured a question-and-answer session with the director midway through act two.

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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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