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.
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.
Confused in its execution, this touring version of Frankenstein has high production values but offers a rushed retelling of the story that fails to work in practice.
Trailing clouds of glory from the 2018 Fringe, David Ireland’s Ulster American has returned to the Traverse with a bang. If it is not quite as good as some have said, it is still impressive – and certainly is impressively nasty.
Behind all this bold, sensual exploration of the seediest side of life, The Last Bordello becomes nothing less than an affirmation of the need – the absolute need – for people to have the freedom and resources to construct and tell moral fables in the time of war.
Mesmerising: High production values and a compelling narrative make Ross MacKay and Suzie Miller’s atmospheric Victorian mystery, Velvet Evening Seance, a suitably haunting experience.
In V-TOL’s latest production, Mark Murphy brings the thrill of his Glasgow Commonwealth Games closing ceremony to the stage, immersing the audience in a mix of aerial choreography and projection. However, with theatrical moments crafted purely for their visual effect, the dialogue lacks substance and the plot can feel sluggish.
Cheery: Loud, hugely enjoyable and instantly recognisable to Scottish audiences from the DC Thomson comic, The Broons is every bit as much fun as you would hope.
This much-loved and cherished story by CS Lewis is cleverly brought to life by Theresa Heskins’ adaptation. And yet, despite its best intentions, this production directed by Andrew Panton falters mid-way, through hammy overacting.