Street Scene is an enjoyable production with outstanding performances from the cast and its diverse and reflective music accommodating the reality of living in a tenement in the 1940s.
What’s In A Name is a comedy-drama that’s packed full of great one-liners while maintaining a dark edge – the cast is uniformly excellent.
Jeremy Sams’ translation of Matthieu Delaporte and Alexandre de la Patellière’s 2010 play Le Prénom, What’s in a Name? proves to be a class act from start to end.
Can you really turn a three-page short story into a full-length play? What would you add, and how would you avoid accusations of padding? Anthony Neilson’s new version of Edgar Allan Poe’s The Tell-Tale Heart, a classic gothic chiller which was first published in 1843, has to confront this issue head-on
Expectations are high for a festive ghost story from the National. With its world-class resources, the theatre offers a wondrous potential to stage the most chilling of tales and when the source material is a famed Edgar Allan Poe short chiller, the anticipation is only heightened. But in Anthony Neilson’s The Tell-Tale Heart transplant, Poe’s gloriously gothic original is served up as a modern-day Christmas turkey.
This new stage version of Harold & Maude says more about modern attitudes to ageing, about feminism, migration and seizing opportunities than the current slew of angry Fringe diatribes. And it says it more elegantly.
When told well, coming of age stories are very often a reminder of the fragility and beauty of life, inspiring a carpe diem attitude tempered with immense gratitude. That the ‘Harold and Maude effect’ delivers this message completely liberated of any subtleties is a shining beacon of hope for humanity in otherwise trying times.
Beautiful to look at and clever enough to know when to be stupid, The Arabian Nights at the Lyceum in Edinburgh is genuine family Christmas entertainment.
Wonderful: While not specifically Christmassy, Alice’s Adventures In Wonderland at Edinburgh’s Lyceum proves an ideal fit for the festive season. Hugely colourful, funny, and fascinating, it is thoroughly involving and a little disorienting.
The established pantomime trio of Allan Stewart, Andy Gray and Grant Stott are here given a chance not only to display their well known comic talents, but also show their more dramatic side – a chance they grab with great eagerness.
Superbly judged performances and a clever, organic approach to staging make for an effectively spooky time in the Lyceum’s production of Conor McPherson’s The Weir.