First published in The Times, Tuesday March 17 2020
Vanishing Point, the Glasgow-based theatre company led by Matthew Lenton, tends to develop much of its acclaimed, highly distinctive work in rehearsal, often creating radical versions of plays such as Maurice Maeterlinck’s Interiors and John Gay’s The Beggar’s Opera. However, the company’s stunning take on Franz Kafka’s novella The Metamorphosis (in collaboration with the Tron and Italy’s Emilia Romagna Teatro Fondazione) is remarkably faithful to its source, and it marks a culmination of Lenton’s concerns and signature style.
Continue reading “Review: The Metamorphosis – Tron Theatre, Glasgow”
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, Tuesday November 14 2017
Live music has long been an integral part of Scottish theatre. The influence of the music hall can be found in everything from pantomime to political works by 7:84 and Wildcat. Recent successes from the National Theatre of Scotland have included the musical Glasgow Girls and The Strange Undoing of Prudencia Hart, a piece of “ceilidh-theatre” that toured pubs and village halls.
Continue reading “Review: Tabula Rasa – Traverse Theatre, Edinburgh”
First published in The Times, Wednesday March 2 2016
A single image can change the entire public conversation. The most powerful recent example was the picture of three-year-old Alan Kurdi’s lifeless body washed up on a Turkish beach, which inspired a softening in attitudes towards the Syrian refugee crisis. Nonetheless, in today’s world, where we are bombarded with images of human suffering, online and on television, it is increasingly difficult to interrogate and fully process what we are seeing.
Continue reading “Review: The Destroyed Room – Tron Theatre, Glasgow”