A New Life (A Mini Musical) at the Traverse every lunchtime this week is certainly not ‘mini’ in its emotional scope or its ambition.
Still at the Traverse is in many ways a tough watch, with themes of death and loss offset by excellent performances and perceptive writing.
The Theatres Trust has awarded a further £155,265 of grants to help theatres with costs of Covid-secure reopening, including changes to the building to reduce congestion, improvements to ventilation systems and simple measures like installing hand sanitisers and screens.
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.
Fragments of Home works both as a theatrical performance and as a film, with Annie George’s performance striking a delicate balance.
Who needs that double espresso shot when shows like Meghan Tyler’s Crocodile Fever exist?
As the fringe continues to grow, so does the input from Edinburgh-based companies. This year there are an unprecedented 93 different productions in the theatre section of the Fringe programme alone.
Bursting with emotion and tuneful energy, the return to the Traverse of What Girls Are Made Of is a thing of wonder.
In The Dark Carnival Vanishing Point and The Citizens (in association with Dundee Rep Ensemble) have crafted a strangely fascinating but oddly frustrating entertainment – theatre-cum-gig-cum-cabaret that impresses in fits and starts.
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.
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.
After a Fringe full of blockbuster productions, the Traverse’s autumn season kicks of with Nests, a two-hander that looks at social inequality and considers what we can learn from crows.
There are moments in Gut – presented by the Traverse in association with the National Theatre of Scotland – where it is difficult to breathe, such is the power of Frances Poet’s psychological thriller.
Margaret Saves Scotland, the latest offering in the A Play, A Pie and A Pint season, marks the return of Val McDermid to the stage. Anyone expecting a taut and bloody crime thriller, however, should be warned that this is a low-key piece, wistful and almost wilfully slight.
Edinburgh’s Lung Ha Theatre Company has created a strong and emphatically direct production of Chekhov’s Three Sisters in a new version by Adrian Osmond at the Traverse and on a short tour.
How to Act, the National Theatre of Scotland’s acclaimed production, is intriguingly named. There are shades of meaning behind that phrase, dealing with the expectations of society as well as the actor’s craft – coupled with a hint of know-it-all prescription.
Behind all this bold, sensual exploration of the seediest side of life, The Last Bordello becomes nothing less than an affirmation of the need – the absolute need – for people to have the freedom and resources to construct and tell moral fables in the time of war.
Matches are resolutely old-school and capable of being taken for granted, but are just as capable of flaring into life as they always were. Which is pretty much the case with Firebrand’s The Match Box.
What happens when a comedian runs a comedy club in one of the most violently repressed areas of the world? Showtime from the Frontline sounds like it should be a recipe for disaster, yet Mark Thomas’ latest production proves to be one of the wittiest and most heartfelt shows to tour to the Traverse.