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.
Fibres, the online filmed version of the 2019 Citizens and Stellar Quines co-production, offers humour, emotion and political impact.
There is a timeliness and emotional truth to Shrapnel, Production Lines’online play by CMFWood, that is enhanced by being presented live.
Someone Else’s Shoes, the Traverse’s immersive online presentation conceived and directed by Hannah Price, is a thought-provoking and wistful evocation of Edinburgh without its festivals.
There is some very promising writing talent on show in the Traverse Festival, and it is done justice both by the standard of performance and production from the venue.
Fragments of Home works both as a theatrical performance and as a film, with Annie George’s performance striking a delicate balance.
With one of the My Light Shines On series of films, Ghost Light provides a poignant reminder of what we are all missing in this fallow year of live performance in Edinburgh during August.
In Miraculous, Borderline Theatre Company and the Gaiety Ayr have created a bouncy online version of David F Ross’ comedy caper novel about an Ayrshire band that once had an unexpected number one hit.
Wonder Fools have revived their intriguing two-hander The Coolidge Effect about the insidious effect of pornography, for an audio, lockdown production that actively enhances the intimacy of the original.
The Edinburgh Festival Fringe Society, the charity which oversees the Edinburgh Fringe, has been awarded £249,000 grants and a £1million interest-free loan to help support it through Covid-19 recovery.
Perfectly pitched: Anno Domino has all of the hallmarks of classic Ayckbourn – razor-sharp observation, subtle skewering of preconceptions, and exploration of murky hidden depths.
Edinburgh’s Lyceum Theatre has entered a period of “hibernation” as a building-based producing theatre, postponing all 2020 shows and entering into negotiations with all staff over redundancies.
Newbury-based circus company Cirque Berserk! appears at Edinburgh’s Festival Theatre as part of its 2020 tour. The company brands itself as ‘Real Circus made for Theatre’ and it does exactly what it says on the tin.
A real joy to watch from start to finish. the story behind Everybody’s Talking About Jamie is one of courage against adversity, but one that is full of humour and love too.