First published in The Times, Monday August 15 2022
Liz Lochhead’s celebrated adaptation of Euripides first took Edinburgh by storm in 2001 in an award-winning production by Theatre Babel at the Assembly Rooms, with Maureen Beattie in the title role. It has taken more than 20 years for the play to make the short journey from New Town to Old, and from the Fringe to the international festival, courtesy of Michael Boyd’s revival for the National Theatre of Scotland.
Continue reading “Edinburgh review: Medea – The Hub”
First published in The Times, Wednesday March 9 2022
The new drama by Zinnie Harris, the award-winning Scottish playwright and director, presents an assortment of characters trying with varying degrees of success to say the unsayable. In the opening sequence Luci (Neve McIntosh) resorts to locking Christopher (Peter Forbes), her husband of 21 years, in their bedroom, with supplies of food and wine, so she can confront him about a suspected affair. In a later scene their daughter Caitlin (Leah Byrne) spins a grotesque and increasingly elaborate lie to reconnect with a former lover, Sally (Saskia Ashdown).
Continue reading “Theatre review: The Scent of Roses – Lyceum, Edinburgh”
First published in The Times, Monday September 10 2018
The autumn theatre season has rolled around again, but for Dominic Hill and the Citizens Theatre it is far from business as usual. Cyrano de Bergerac is the company’s first production since taking up residence at nearby Tramway while its Gorbals HQ undergoes renovations. Hill’s take on Edmond Rostand’s 1897 verse drama, based on the celebrated 1992 Scots translation by Edwin Morgan, is an ambitious team effort, co-produced by the National Theatre of Scotland and the Royal Lyceum, that will tour stages around the country.
Continue reading “Review: Cyrano de Bergerac –Tramway, Glasgow”
First published in The Times, Saturday April 21 2018
“Enough is not as good as a feast!” cries Edmund Tyrone (Lorn Macdonald), tossing back the latest in a long line of whisky shots. In an age of rapid-fire 90-minute plays with no interval, a revival of Eugene O’Neill’s masterpiece at the Citizens certainly feels like a good old-fashioned theatrical banquet, albeit a well-oiled one.
Continue reading “Review: Long Day’s Journey Into Night – Citizens Theatre, Glasgow”
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”.
Continue reading “Review: Hay Fever – Royal Lyceum, Edinburgh”
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”