First published in The Times, Friday September 10 2021
As Andrew Panton, the artistic director, reminds us in his opening address, the auditorium at Dundee Rep has been empty since March 2020. It is fitting somehow that the company’s first in-person show in 18 months should be a play set in Dundee in the midst of the pandemic that also touches upon aspects of the city’s heritage. John McCann’s script is rich in references to local landmarks such as Balgay Hill, the old music school and the McManus, which the audience laps up enthusiastically. There is even a cameo appearance from the museum’s most famous resident, the Tay Whale.
First published in The Times, Thursday September 5 2019
The City of Discovery’s best-known stories and characters inspire all the shows in Dundee Rep’s 80th anniversary programme. The season has opened on perhaps the most infamous event in the city’s history: the collapse of the original Tay Bridge during a gale in December 1879 with the loss of all 75 people making the journey by train from Fife to Dundee that night.
First published in The Times, Monday February 25 2019
Jemima Levick is the ideal person to helm this revival of All My Sons. The former artistic director of Dundee Rep has confessed that she wasn’t the greatest admirer of Arthur Miller’s first major success when she was asked to return to her former place of work to direct the 1947 play. Yet her production does exactly what a good revival of a classic should do: it invites its audience to look at a familiar work with fresh eyes.
No one is quite sure who coined the phrase “writing about music is like dancing about architecture”, but the enduring sentiment could just as easily be applied to the obvious incongruity of “staging” a radio play.
Watching actors poised in front of microphones, scripts in hands, while their co-stars rhubarb in the background, creating crowd noise, may not sound promising, and yet, done well, it can be surprisingly absorbing. Mull Theatre’s ingenious production of Whisky Galore, set in a BBC studio and based upon Compton Mackenzie’s radio adaptation, has been regularly revived to appreciative responses since it premiered around a quarter of a century ago.
First published in The Times, Wednesday November 1 2017
Audiences are accustomed to seeing the auditorium of Dundee Rep transformed by ambitious design. On several occasions the seating has been ripped out, reconfigured in the round or dispensed with altogether. The ensemble performed its award-winning 2012 production of Zinnie Harris’s Further Than the Furthest Thing in and around a huge pool of water.
First published in The Times, Wednesday June 7 2017
By coincidence, Dundee Rep’s community production of Brecht’s anti-fascist allegory is running at the same time as a major revival at the Donmar Warehouse. Where Brecht’s 1941 “parable play” parodied Hitler’s rise to power through the story of a small-time gangster who assumes control over the Chicago cauliflower racket in the 1930s, the London production, starring Lenny Henry, draws explicit parallels with the campaigning rhetoric and behaviour in office of the current resident of 1600 Pennsylvania Avenue.
First published in The Times, Thursday April 27 2017
The tale of how Mary Shelley came up with the idea for Frankenstein in a waking dream while staying at Lake Geneva in the summer of 1816 is almost as familiar as the plot of the novel itself. Less well known is the author’s connection with the city of Dundee, where the 14-year-old Shelley (née Mary Wollstonecraft Godwin) spent several months recuperating from illness in 1812.
It is no mean feat to take a play as endlessly revived and oft discussed as Arthur Miller’s Pulitzer Prize-winning masterpiece and make audiences feel as though they are seeing it for the first time. Yet this production, directed by Joe Douglas for the Dundee Rep ensemble, offers an abundance of fresh perspectives on a text many people first encounter as high school students.
Sometimes the power of theatre to transport its audience can be instantaneous. As we make our way, still dripping from a June shower, into the auditorium of Dundee Rep, Ken Harrison’s set of rusticated gold pillars and wrought iron archways, made to gleam by Mike Robertson’s lighting, produces a palpably warming, comforting effect. People can be seen basking their faces in the glow. It’s like the start of a much-needed summer holiday.
First published in The Times, Tuesday March 8 2016
It would appear there are two possible approaches that can be taken when dramatising the crime fiction of Agatha Christie. The BBC may have made a bold attempt to inject some social context and depth of characterisation into their recent dark adaptation of And Then There Were None. Yet, the work of the Queen of Crime is still more familiar to stage and screen audiences as a kind of camp pageant, in which characters with all the complexity of Cluedo figurines gather to hear the solution to what amounts to an intricate puzzle.