First published in The Times, Thursday January 25 2018
The weaving of dance elements into drama has become so widespread as to be unremarkable, even if certain productions tack on passages of movement in such marginal ways that they seem almost afterthoughts. Unusually, this adaptation of Marguerite Duras’s novel, created by Fleur Darkin of Scottish Dance Theatre and Jemima Levick, the artistic director of Stellar Quines, professes a 50:50 split between the two forms. While sporadically effective, their collaboration fails to capture the visceral power of its source.
First published in The Times, Friday October 21 2017
This two-hander from James Ley, the Edinburgh-based playwright and founder of the Village Pub Theatre, is a rare treat. One could count on the fingers of one hand the number of new plays that open in Scotland in any given year whose running time is more than 50 minutes. As for drama in which LGBT characters are at the front and centre of the story, well, you wouldn’t even need to use one hand or, for that matter, any of your fingers.
First published in The Times, Friday October 13 2017
The promotional image for this revival of Bridget Boland’s Cockpit is a frenzied blue scribble in the middle of the map of Europe. The simple image encapsulates the impossible task – depicted in the play – of returning displaced peoples to their countries of origins in the aftermath of World War Two, yet it also speaks eloquently of the inadequacies of the nation state in 2017. Boland’s script feels so up-to-date that it inspires repeated glances at the programme notes to double check that it really does date back to 1948.
First published in The Times, Thursday May 25 2017
John Knox (Jamie Sives) stands at the front of the stage, watching the audience file into the auditorium. Clad in black, with Bible in hand, he is utterly immobile save for his eyes, which roam the stalls, picking out individual audience members and holding them with an unyielding gaze.
It is a discomforting start to Linda McLean’s new play about the 16th century Scottish Reformer – who was credited with founding the Presbyterian Church – and his various exchanges with that other great icon of the period, Mary, Queen of Scots. The feeling of unease provoked by this opening gambit will be familiar to anyone who has passed under the stare of the statue of Knox that is at the entrance of the Assembly Hall on the Mound in Edinburgh – ironically now a major venue every August during the Festival Fringe.
Sandy Grierson is fast becoming the go-to actor for offbeat dramatic roles in Scottish theatre. The titles alone of his recent work hint at his versatility. In the past two years he has played the antihero of Alasdair Gray’s Lanark: A Life in Three Acts at the Edinburgh International Festival and the iconoclast musician in The Beautiful Cosmos of Ivor Cutler for the National Theatre of Scotland.
First published in The Times, Tuesday April 11 2017
It is so rare to see revivals of the work of Caryl Churchill on Scottish stages that two productions in the space of a week feels like an embarrassment of riches. The prolific, versatile and endlessly experimental playwright’s two-hander Drunk Enough to Say I Love You?, which implicitly explores the so-called “special relationship” between Britain and the United States through a conversation between male lovers, has recently completed a week-long run in the Circle Studio at Glasgow’s Citizens Theatre.
First published in The Times, Friday March 17 2017
Dominic Hill, the artistic director of the Citizens Theatre, has won acclaim and awards in recent years for productions of Crime and Punishment and Hamlet presented on near-bare stages, with only a few essential props and the cast doubling as musicians. While his production of Hay Fever is not as skeletal as his previous shows, the staging here is more restrained than the usual lavish naturalism you get in productions of Coward.
Tom Piper’s set design provides just enough detail to convey the comfortably moth-eaten atmosphere of the Bliss residence. That the wings are in sight of the audience feels wholly appropriate to a play about a family who enact the mother of all pantomimes for the benefit of their houseguests, one of whom decries their antics as “artificial to the point of lunacy”.