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.
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.
Drips grandeur: Huge and elemental forces drive This Restless House, the version of the Oresteia by Zinnie Harris originally produced by the Citizens’ Glasgow and the National Theatre of Scotland last year.
★★★☆☆ Long time coming:
The official Festival’s flagship production of Alan Ayckbourn’s The Divide at the King’s contains multitudes.
Masterful: Vox Motus’ Flight is an emotional and powerful work of art – an experience like no other that stays with you long after leaving Edinburgh’s Church Hill Theatre.
Slow but compelling: Bringing Beckett to the Edinburgh International Festival, Irish Production Company Clare Street gives a fittingly understated treatment to Krapp’s Last Tape.
Mythic emotion: Meet Me At Dawn, a new play by Zinnie Harris presented by the EIF at the Traverse, is a sombre but beautifully open-hearted depiction of love, loss and regret.
Wild: The EIF’s Rhinoceros is a thoroughly contemporary take on a modern classic, combining knockabout comedy with a deep consideration of human society.
In the second of his exclusive features for Æ, Bruce Cannon turns to the birth (and growth) of the fringe – and how it effected his own career.
In the first of two special features exclusive to Æ, Bruce Cannon remembers the beginnings of the Edinburgh Festival and fringe.
The new production of Mozart and Lorenzo da Ponte’s classic opera Così Fan Tutte has attracted no shortage of controversy. After its premiere in Aix-en-Provence in France in July, the organisers of the Edinburgh International Festival wrote to all ticket holders offering a refund “due to the adult nature of some of the scenes” and its unsuitability for younger audiences.
The latest production from Compagnie du Hanneton is a theatrical wonder that builds on their reputation for exquisite spectacle. James Thiérrée has genius of both skill and imagination, and The Toad Knew is a beautiful and precisely constructed surreality.
A rare beauty: Lyrical, intelligent and completely compelling, Wind Resistance at the Lyceum Rehearsal Studio is a fascinating, thoughtful and entirely stunning piece.
Sultry: There is a taut emotional quality to John Tiffany’s production of Tennessee Williams classic The Glass Menagerie at the King’s Theatre as part of the Edinburgh International Festival.
Solid showing for Linehan’s second EIF: The return of Alan Cumming to Edinburgh for the whole festival is the big news of a programme that is more solid than surprising. He will be singing his Sappy Songs for 20 performances of late-night cabaret at the Hub. Cumming is part of the theatre programme, as artistic director Fergus Linehan seeks to question the nature of cabaret.
✭✭✭✭✩ The unstageable, staged:
A world of hugely entertaining possibilities is on display in Lanark. The co-production between the Citizens Theatre and the International Festival has all of the excitement and weight of a capital-letter Theatre Event.