The Macbeths, the Citizens’ concentrated revision of Macbeth, supplies a charge that is so often missing in versions of the play.
Hindu Times – the latest audio offering from the Lyceum and Pitlochry Festival Theatre’s Sound Stage – is a wildly original piece. Although cumbersome at times, it has a raucous energy that is frequently arresting.
There is little doubt that a tightened-up version of Tennis Elbow would be better, but the sheer pleasure in language displayed here already goes a very long way.
A Space to Bless, a series of meditations from Queen Jesus Productions filmed in St Mary’s Episcopal Cathedral, provides much-needed balm for the soul.
Smile, Dundee Rep’s football-themed online offering, transfers to the screen to provide a satisfactory record of 2020’s successful play about the legendary Jim McLean.
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.
A touching and utterly personal piece of drama, Angela by Mark Ravenhill is a fitting first offering in the Lyceum and Pitlochry Festival Theatre’s Sound Stage project in association with Naked Productions Ltd.
Lyceum Christmas Tales may have been born out of necessity, but the whole enterprise has taken on a beauty and importance of its own.
Fibres, the online filmed version of the 2019 Citizens and Stellar Quines co-production, offers humour, emotion and political impact.
There is a timeliness and emotional truth to Shrapnel, Production Lines’online play by CMFWood, that is enhanced by being presented live.
Someone Else’s Shoes, the Traverse’s immersive online presentation conceived and directed by Hannah Price, is a thought-provoking and wistful evocation of Edinburgh without its festivals.
There is some very promising writing talent on show in the Traverse Festival, and it is done justice both by the standard of performance and production from the venue.
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.
Oor Wullie, the touring musical from Selladoor, Dundee Rep and DC Thomson has moments of comic brilliance.
Pride and Prejudice* (*sort of) has a superbly wide frame of reference, and which is thought-provoking as well as being sheer good fun.
Visually arresting, the touring production of The Lion King which is booked into the Playhouse until March 2020, wants for nothing in terms of spectacle or budget.
There is a winning combination of the playful and the profound in Barber Shop Chronicles which allies serious stagecraft and knowledge to sheer enjoyability.
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.
Some outstanding performances overcome a series of gimmicky directorial choices in the UK National Theatre’s touring production of A Taste of Honey at the King’s.
Dealing with troubling questions about human interaction, the Lyceum’s adaptation of Solaris is – like all the best science fiction – not really about alien planets but about our own world.