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HOW TO WRITE ABOUT THEATRE
by Mark Fisher

"A perfect introduction to what could be a lifetime of pleasure"
British Theatre Guide

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With a foreword by Chris Jones, Chicago Tribune

 

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9 Oct 2017 The Guardian

‘You don’t understand anything about Europe’: 1947 play Cockpit blazes back

A Royal Lyceum Theatre preview.

BRIDGET Boland’s play Cockpit opened in London in February 1948, in the long shadow cast by the second world war. The situation it described – a displaced persons (DP) assembly centre housing eastern European refugees and concentration-camp survivors – was still ongoing. Although many of the war’s 11 million displaced people had been repatriated, hundreds of thousands were still resident in these supposedly temporary refuges. It would be 1952 before most of the camps were closed. Cockpit follows a British officer running a DP camp in a provincial German theatre, where the fighting between Russians, Jews, Chetniks, communists and partisans is brought to a halt when a Polish professor suspects there’s been an outbreak of bubonic plague and insists on shutting the theatre’s doors.

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29 Sep 2017 The Guardian

The Macbeths

By William Shakespeare/Frances Poet. A Citizens Theatre review

THE bed could have been designed by Tracey Emin. It’s all dishevelled sheets, fallen vodka bottles and scattered underwear. Sitting around it on plastic chairs in the Citizens’ tiny Circle Studio, we feel like intruders in the living quarters of the Macbeths, eavesdropping on Keith Fleming, the king that shalt be, just back from his encounter with the witches and eager to tell Charlene Boyd of the strange prophecy he’s heard. While the two of them canoodle and conspire, we lurk in the nocturnal shadows like voyeurs. Only as their reign of terror falls apart does lighting designer Stuart Jenkins turn on the strip lights to bleach the scene of its intimacy and expose their delusional actions. A domestic dream has become a political nightmare.

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27 Sep 2017 The Guardian

Drinking and thinking: raise a glass to Glasgow's plays, pies and pints

A Play, a Pie and a Pint review feature

IT defies all the rules of theatre marketing. Scarcely past midday on a Monday lunchtime, a full 45 minutes before curtain up, the queue for the box office is already snaking on to the road. Inside Òran Mór, a spacious pub-cum-performance venue in Glasgow’s West End, the line of ticket holders is even longer. They are here for A Play, a Pie and a Pint, a lunchtime series launched by David MacLennan in 2004 and not so much a success as a phenomenon. Nobody could have predicted its popularity back then, but today is typical. They line up like this six days a week for 40 plays a year (plus summer and winter pantomimes), almost all of them new with just a handful of classical adaptations. The tally to date is in excess of 400, making A Play, a Pie and a Pint a bedrock of the Scottish theatre industry.

 

 

 

 

 

 

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by Mark Fisher

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"Every single page of this book is enhanced by Mark Fisher’s lifelong enthusiasm for, and commitment to, the Edinburgh Festival Fringe – the greatest arts festival in the world."

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Chief executive, Edinburgh Festival Fringe Society

 

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