A New Life (A Mini Musical) at the Traverse every lunchtime this week is certainly not ‘mini’ in its emotional scope or its ambition.
Mates blogger: Thom Dibdin
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Chicago’s tale of murder, greed, corruption, violence, exploitation, adultery and treachery whispers back into the Edinburgh Playhouse with a thrum of double bass, a twitching off-beat on the drums and a haunting moan of muted trumpet.
Packed with expletives and off-colour observations, Afterparty from New Celts Productions and F-Bomb Theatre at theSpace’s Triplex theatre pulls no punches in its humorous but bitter-sweet story set in small town Scotland.
Fear of Roses, by Black Bat Productions at Assembly Roxy, is a crisp, intelligent and thoroughly rewarding three-hander.
Saving Mr Ultimate, a tale of superheroes, grief and letting go, mixes the serious and the humorous effectively in creating a world that is both believable and ever-so-slightly superhuman.
Wish List is an urgently contemporary piece from New Celts and Bone Struck Theatre, dealing with young carers, mental health and the gig economy in a way that never preaches and is always beautifully human.
Medicine, Landmark Productions and Galway International Arts Festival’s production for the International Festival at the Traverse, is a troubling, funny, emotionally devastating and brilliantly realised piece of theatre.
Still at the Traverse is in many ways a tough watch, with themes of death and loss offset by excellent performances and perceptive writing.
A Grand Night For Singing as part of the Edinburgh International Festival is done with such grace and skill that it is difficult to feel much but warmth towards it.
History, emotion and righteous anger combine tunefully and humorously in Sweet F.A., This Is My Story Productions’ thoroughly welcome return to Tynecastle Park.
The Macbeths, the Citizens’ concentrated revision of Macbeth, supplies a charge that is so often missing in versions of the play.
David Greig’s Adventures with the Painted People is a clever and evocative piece of theatre which is only enhanced both by being the first full theatre production in Scotland since lockdown and by its performance in Pitlochry’s new Covid-secure amphitheatre.
Hindu Times – the latest audio offering from the Lyceum and Pitlochry Festival Theatre’s Sound Stage – is a wildly original piece. Although cumbersome at times, it has a raucous energy that is frequently arresting.
There is little doubt that a tightened-up version of Tennis Elbow would be better, but the sheer pleasure in language displayed here already goes a very long way.
A Space to Bless, a series of meditations from Queen Jesus Productions filmed in St Mary’s Episcopal Cathedral, provides much-needed balm for the soul.
Smile, Dundee Rep’s football-themed online offering, transfers to the screen to provide a satisfactory record of 2020’s successful play about the legendary Jim McLean.
Doppler: The Story So Far, a portrait of Grid Iron’s 2020 production of Doppler that never was, is an edifying, surprising and deeply human film.
A touching and utterly personal piece of drama, Angela by Mark Ravenhill is a fitting first offering in the Lyceum and Pitlochry Festival Theatre’s Sound Stage project in association with Naked Productions Ltd.
While a live audience is oxygen to panto performers, recorded Rapunzel at the Brunton Theatre, Musselburgh is a triumph, and placing the trials of 2020 the heart of this retelling of this well-loved tale makes perfect sense.
Lyceum Christmas Tales may have been born out of necessity, but the whole enterprise has taken on a beauty and importance of its own.
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