First published in The Times, Tuesday February 26 2019
Visions of the afterlife in drama can range from the terrifying to the strangely reassuring. Vanishing Point’s meditation on death, the torment of grief and the comforts of the supernatural imagines Hamlet’s “undiscovered country from whose bourn no traveller returns” as a gothic mirror of the world above ground, in which the dead reciprocate the pain and grief of the living.
Continue reading “Review: The Dark Carnival – Tramway, Glasgow”
First published in The Times, Monday July 10
A few lines from A Midsummer Night’s Dream, describing a world whose seasons are in disarray, perfectly encapsulate the experience of seeing theatre in Scotland at present: “The spring, the summer, the childing autumn, angry winter change their wonted liveries, and the mazèd world, by their increase, now knows not which is which.”
Not only is Pitlochry Festival Theatre currently staging Alan Ayckbourn’s Absurd Person Singular, a play set over three consecutive Christmas Eves, the Tron’s summer show is a revival of Anthony Neilson’s The Lying Kind, whose farcical action unfolds against a backdrop of tinsel and holly wreaths.
Continue reading “Review: The Lying Kind – Tron Theatre, Glasgow”
First published in The Times, Monday February 8 2015
The experience of seeing actors famed for television roles taking to the stage can be disorientating, requiring an adjustment on the part of the audience, a further suspension of disbelief. In Dominic Hill’s revival of Endgame at the Citizens, the curiosity value of seeing David Neilson and Chris Gascoyne – for many years Roy Cropper and Peter Barlow in Coronation Street – transferred to the strange landscape of a Samuel Beckett play is swiftly defused by the fact that both actors are almost unrecognisable from the outset.
Continue reading “Review: Endgame – Citizens Theatre, Glasgow”