Scorching: A guttural call to arms, the Royal Shakespeare Company’s Revolt. She Said. Revolt Again. at the Traverse presents a broiling manifesto for feminist revolution.
Convivial history: Cheery and cheeky, Ideoms’ Soddin’ Flodden at Spotlites presents a fun and accessible take on Scottish history.
POP-UP Duets, Janis Claxton’s series of nine dances on the theme of love at various locations in the National Museum in Chambers Street, is refreshing, beautiful and an excellent idea all round.
Assiduously performed, and building up an air of mystery, The Rose and Crown has much about it that is striking.
Life-affirming: Life According To Saki, Atticist’s production upstairs at Adam House, is a wonderfully staged, hugely appealing production.
There is an interesting premise behind Ronnie and Jonny, the comic play from Steve Griffin and Keith Muddiman at 48 Below underneath the Phoenix in Broughton Street. However, its story is not sufficiently worked out, and it is only intermittently funny.
My Dog’s Got No Nose, presented by Phil Barnes for Arkle at the Royal Scots Club, is a well acted piece that manages to sustain considerable interest.
By turns absurd, winsome and tragic, Theatre Paradok’s Lippy at theSpace on the Mile is a challenging, bleakly funny and ultimately impenetrable affair.
Comic bravado: The Club, the latest play from Edinburgh-born actor and writer Ruaraidh Murray, has a fiercely humorous energy and drive.
Tender: Affecting and emotional, Charles Hindley’s Eugene & Elvis at Silk is a rawly human musing on love, loss, family ties and the healing power of music.
Emotional: Convincing portrayals and realistic emotions are a feature of the Makars’ production of Neil Simon’s The Gingerbread Lady at the Royal Scots Club.
Lacking in fury: There is a pleasing energy and political commitment to Pinched! Theatre’s feminist entertainment The F Words at Greenside, but as a show it fails to cohere.
Revived from their entry in this year’s SCDA One-Act Festival, the Makars’ production of Tariq Ali, Howard Brenton and Andy de la Tour’s piece of political reportage combined with domestic drama has considerable force. Written in 1999 as a response to the NATO bombing campaign during the war in Kosovo, the concerns of the play do seem to anticipate many events that have taken place since.
Clever: There is a delicate balance between information and entertainment, and between history and contemporary relevance, in Michael Daviot’s Nosferatu’s Shadow at Sweet Grassmarket.
Hugely involving: An outstanding display of acting is given by Robin Thomson, who is celebrating the 50th anniversary of his first professional appearance by reviving his 2003 performance as James VI in Donald Smith’s Cradle King in the John Knox House.
Smooth: Revealing and emotional, Robert Burns: Rough Cut at the Storytelling Centre presents a thoroughly believable portrait of the poet.
Therapeutic: Jenna Watt’s affecting exploration of Trident in Faslane may never go nuclear, but her sympathetic approach to a complex issue restores some much-needed humanity to an increasingly polarised body politic.
Gleeful: Shamelessly broad and totally daft, Bob, Gin and Tonic Productions’ parodic take on Shakespeare at C Cubed, is decidedly hit-and-miss. However, it has enough enjoyment and anarchic humour to more than pass muster.
Broad, cheeky and deceptively carefully crafted, Grant Stott’s solo show Tales From Behind the Mic is a great success.
Underwhelming: Dealing with dark, mysterious happenings, The Lake of Dead Languages from Caduceus at the Royal Scots Club threatens to plunge into deep waters but does not get much beyond the shallow end.