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.
What larks: For careful execution and straightforward fun, it is difficult to imagine many recent productions of Gilbert and Sullivan have beaten Cat-Like Tread’s The Sorcerer at Paradise in Augustines.
Comes good: Out of the Bad, by Fair Pley at the New Town Theatre, is a warm and politically informed production distinguished by outstanding performances.
Gripping: Adam McNamara’s outstanding Stand By profoundly examines the relationship between four officers amidst the unpredictable rhythms of life on the job.
Charming: Death in Venice, Thomas Mann’s 1912 novella, is a graceful spin in a dance theatre adaptation full of character from Edinburgh Ballet Circle.
Entertaining: Enterprise, Americana Absurdum Productions’ inventive comedy at Assembly George Square, is an original and funny experience.
Raw: Stark truths not often portrayed on stage give Doglife at Summerhall a compelling quality, even if the result could never be called attractive.
Thrilling: Magician-scientist hybrid Kevin Quantum brings a show that truly seems to defy gravity to the Debating Hall of the Gilded Balloon Teviot.
A plot to murder a member of the royal family takes centre stage in the debut run of the tragic comedy Macbeth kills The Duchess.
Judicious and hilarious: There is a great deal that is hugely appealing, both in content and in assured comic performances, in Doig the Musical, With No Singing, No Dancing and Very Little Music at theSpace on the Mile.
Ambitous with a different accent: Here’s something unique at the Assembly Hall, two new musicals by groups in the UK and US, linked across the Atlantic by the theme of posing the same question.
Singing truth to power: The Fall, the Baxter Theatre centre at The University of Cape Town’s production at the Assembly Hall, is a fascinating and troubling work, made simultaneously joyous by an outstanding ensemble.
Authentic humour: Indie As F*ck, Pinched! Theatre’s comic play with songs about teenage aspirations and disappointments, remains an engaging night out.
Sound premise: Combining wordplay, humour and philosophical musings, A Joke at the Space on Niddry Street is a beautifully presented piece of theatre.
Brazen: Connoisseurs of bad taste comedy will be thoroughly satisfied by Pandorum Theatre Company’s F*ckboys For Freedom at Sweet Grassmarket.
Zsa Zsa Voom: A shaggy dog story that happens to be true is the focus of Nigel Miles-Thomas’s engaging one-man show Zsa Zsa and Me at the Gilded Balloon’s Rose Theatre.
Creative: An effective original script carries Vichy Goings-On right the way through, giving it easy entertainment value at the Fringe. There are a few bumps along the way, but on the whole RFT deliver an engaging, likeable story with unique characters.
Thought-provoking: Andy Edwards’ new play Scribble, at the Assembly Roxy, is an innovative and thought-provoking exploration of mental health.
Manipulative: Perfect pacing and authentic actors give Graham Eatough’s How To Act for the National Theatre of Scotland at Summerhall a unique shine.
Powerful: Following the success of 2014 and 2015’s Black Is the Color of My Voice, Apphia Campbell returns to Gilded Balloon with another powerful one-woman show.
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