First published in The Times, Tuesday July 10 2018
At first glance, there appears to be a bulky, Oscar Wilde-shaped hole in Pitlochry Festival Theatre’s summer season programme. Lively, intelligent productions of the great aesthete’s masterpieces, from An Ideal Husband to The Importance of Being Earnest, all directed by Richard Baron, have been among the rural theatre’s more memorable outings in recent years.
First published in The Times, Wednesday June 6 2018
Likeability is so overrated. The characters in Kander and Ebb’s Chicago are unapologetically venal, rapacious or at best pathetic. Rare moments of introspection are undercut with cruelty and irony. If the audience is in any doubt as to how little the show’s murderous leads care about obtaining our sympathy, we return for Act II to be welcomed with the line, “Hello, Suckers”.
First published in The Times, Monday February 5 2018
The Match Box: Four Stars
Company: Three Stars
Frank McGuinness, the Irish playwright, is as celebrated for his translations of classics, including tragedies by Sophocles and Euripides, as he is for original works such as Observe the Sons of Ulster Marching Towards the Somme. His monologue, The Match Box, first performed in 2012, has a vividly described contemporary setting but the questions it asks are as old as civilisation itself.
First published in The Times, Wednesday January 31 2018
Rona Munro’s Bold Girls, first staged in 1990, is one of those disquieting works that lures its audience in gently before gradually exposing them to the sadness and desperation at its core. The play is set in Belfast at the height of the Troubles, but in the opening ten minutes of this revival at the Citizens – as Marie (Lucianne McEvoy) entertains her best friend, Cassie (Scarlett Mack), and Cassie’s mother, Nora (Deirdre Davis), in her cramped front room – we might just as easily be in sitcom-land. The women light-heartedly discuss their planned night out, diets and Saturday evening telly. Neil Haynes’s design is so detailed that you can almost feel the warm glow from Marie’s grill pan.
First published in The Times, Saturday November 4 2017
A first glance at the staging for Peter Arnott’s new adaptation of Compton Mackenzie’s novel may lead some in the audience to wonder if they have inadvertently stumbled upon Brigadoon. Ken Harrison, the designer, has garlanded his set with tartan. There are glimpses of heather-clad hills in the background and a soundtrack of bagpipes playing faintly overhead. The whole scene provokes the same frisson of resistance one feels walking past shop windows filled with shortbread and tinned haggis on the Royal Mile.
The work of Alan Ayckbourn is almost a mainstay of the annual summer programme at Pitlochry Festival Theatre. Over the years the company has made a significant dent in the prolific dramatist’s output, producing 24 of his more than 70 full-length plays. Last year, there was a bonus for aficionados when the theatre revived his ambitious trilogy of plays, Damsels in Distress.
Absurd Person Singular, one of Ayckbourn’s earliest successes, is also something of a three-in-one theatrical bonanza. The play unfolds over successive Christmas Eves in the respective homes of three very different couples. These increasingly uncomfortable gatherings may take place over the festive season, but Ayckbourn games our expectations by setting the action “offstage” in a trio of kitchens whose décor and condition mirror their owners’ personalities and state of mind. Now and then, a door opens to offer a glimpse of fairy lights or to divulge a few bars of seasonal music or sherry-fuelled laughter. Otherwise, the atmosphere remains resolutely cheerless.
First published in The Times, Tuesday June 20 2017
JM Barrie, the author of Peter Pan, was afflicted in later life by writer’s cramp and could only write for any length of time with his left hand. He noted that the work he produced at this point took on an eerier quality, as though his left hand was channelling darker aspects of his personality. Mary Rose, written in the immediate aftermath of the First World War, with its portrayal of a young life frozen in time, is strikingly similar in theme to the Kirriemuir-born author’s most enduring and iconic work, though laced through with subtle chills.