In Sea Sick Alana Mitchell tells, in an engaging lecture, the story of how she, as a journalist, came to be investigating this little known, devastating climate change phenomenon.
Prehistoric is an impressive drama, which delivers a forgotten history as part of a compelling account of growing up, physically, culturally and politically.
Antosh Wojcik is a poet and a drummer, an unusual but logical combination. In his one-man Summerhall show, he brings his skills to a performance that is highly distinctive – both experimental and emotionally powerful.
By acknowledging the life-threatening trend of social isolation and the restorative qualities of touch and human interaction, Lovecraft is a heart-warming reminder of why people need people.
Sweet and true, Handfast by Edinburgh-based company Nutshell at Summerhall, is the wedding day you deserve.
An important piece of LGBT history is explored in Eighties gay romantic comedy, Love Song to Lavender Menace, which returns to Edinburgh this Fringe.
Flirting with darkness, Theatre Paradok’s production of Alistair McDowall’s Pomona is well performed, but ultimately more staid than it first appears.
Mark Watson wanders onto the stage and picks up a totally unseen script by a totally unknown female writer. It’s coincidence that tonight’s comedian is Mark Watson – there’s a different comedy performer for each show of Manwatching.
Gripping: Adam McNamara’s outstanding Stand By profoundly examines the relationship between four officers amidst the unpredictable rhythms of life on the job.
Raw: Stark truths not often portrayed on stage give Doglife at Summerhall a compelling quality, even if the result could never be called attractive.
Manipulative: Perfect pacing and authentic actors give Graham Eatough’s How To Act for the National Theatre of Scotland at Summerhall a unique shine.
Next up in our Spotlight feature is Sugar Baby, which plays Edinburgh Festival from 4 – 27 August 2017. I caught up with writer Alan Harris.
Human: Not only is Shakespeare, His Wife, and the Dog a treat for all theatre aficionados, it is also clever, emotional and wonderfully acted.
Two women, in two different shows set on opposite sides of the world, swim as if their lives depend on it. One is training for an ironman-length triathlon, the other never learnt to swim and is doing so to overcome a fear of water. Equations for a Moving Body is Hannah Nicklin’s solo performance telling the story of her decision to complete an ironman.
Therapeutic: Jenna Watt’s affecting exploration of Trident in Faslane may never go nuclear, but her sympathetic approach to a complex issue restores some much-needed humanity to an increasingly polarised body politic.
On 1 September 2004, a group of terrorists stormed a school in Beslan, holding over a thousand people hostage on the first day back after summer holidays. Most of them were children. When the siege ended three days later, over 300 people were dead.
Lacks punchline: Mamoru Iriguchi’s creation 4D Cinema uses potentially genius technological techniques, but wastes it on 50 minutes of un-witty surrealism.
Sarah wants to know everything. She’s inquisitive, gregarious and energetic, the life and soul of any party. But now that she’s in her thirties and wants to start a family, she needs to sort out some of her issues. So, she goes to a doctor to talk through all the behaviour quirks she’s had since childhood – the trouble sleeping, the irrational impulses, the disorganisation, the obsessions.
Every Londoner has strong feelings about the tube. They love it, hate it, love to hate it, depend on it, avoid it, sometimes all at once. In Lines, Rose Bruford students pay homage to the underground by extracting individuals from the millions of faces that blur through stations each day.
A cheerful directness and generosity of spirit permeate Waves at the Old Lab in Summerhall. However, there is an underdeveloped feel at times that threatens to detract from its fresh and infectious atmosphere.
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