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.
Thunderstruck by David Colvin at Assembly Checkpoint is a deeply felt and human tale, whose relationship with its source and inspiration nevertheless makes for some uncertain moments.
Of Mice and Men, in the Gilded Balloon Teviot Wine Bar for the full fringe, benefits from one fine performance and one exceptional one.
The blood-soaked events of The Duchess [of Malfi], a co-production between the Lyceum and the Citizens Theatre, are almost unwatchably intense at times. As a depiction of timeless and timely considerations, however, this production is hard to beat.
There are plenty of laughs to be had in the touring Comedy About A Bank Robbery at the King’s. There are also a couple of gasp-inducing coups de theatre.
The touring production of The Worst Witch is high-octane, clever and extremely enjoyable.
Bursting with emotion and tuneful energy, the return to the Traverse of What Girls Are Made Of is a thing of wonder.
There are plenty of laughs to be had in the production of Abigail’s Party which finishes an extensive UK tour this week at the King’s.
Local Hero, the Lyceum’s co-production with the Old Vic, has the authenticity and drive one would expect considering the source material, but fails to add much that is new.
Sherlock Holmes: The Final Reckoning, Twisted Thistle’s production for Annexe Arts Hub’s Formation Festival at the Assembly Roxy, is an intriguing and beautifully presented exploration of the characters of Edinburgh-born Arthur Conan Doyle.
Twisted Thistle’s production for Annexe Arts Hub’s Formation Festival at the Assembly Roxy, is an intriguing and beautifully presented exploration of the characters of Edinburgh-born Arthur Conan Doyle.
Trailing clouds of glory from the 2018 Fringe, David Ireland’s Ulster American has returned to the Traverse with a bang. If it is not quite as good as some have said, it is still impressive – and certainly is impressively nasty.
Art is everything a high-profile touring show should be – a carefully thought out, well-directed production of a hit play featuring a big-name cast at the top of their game.
Anthropocene, from Scottish Opera at the King’s, is a work that is constantly shifting its ground both dramatically and musically; while it is absorbing it never entirely solidifies.
There is a depth and grit to Touching The Void at the Lyceum that threatens to carry all before it.
Scottish Ballet’s Cinderella, back at the Festival Theatre this Christmas, is still a festive treat. Christopher Hampson’s celebrated production of Prokofiev’s ballet, originally seen in New Zealand and first presented in Europe by the company in 2015, has huge reserves of charm and elegance.
There is much to admire about the staging of Mouthpiece at the Traverse, and even more about how it is acted. In the end, however, the play tantalises rather than delivers.