Guardian 27 February 2014
By Chloe Moss. A Tron Theatre review.
THE last time we saw Elaine C Smith, she was sending up Rod Stewart, Gladys Knight and Adele as a Fairy Godmother in the Aberdeen panto. David Greig, meanwhile, has been pulling in the crowds to his adaptation of Charlie and the Chocolate Factory in the West End. Fans of Cinderella and Roald Dahl are unlikely to be prepared for This Wide Night, a grim slice-of-life two-hander, directed by Greig, in which Smith plays an ex-con. Escapist holiday entertainment it is not.
Guardian 19 February 2014
By Noel Coward. A Royal Lyceum Theatre, review.
IT'S the climactic scene, in which Noël Coward's mismatched lovers are at loggerheads. On this morning after an embarrassing night before, they're doing their damnedest to remain civil. Or, at least, as civil as they can be when two of them are not speaking and the other two have been dumped on their honeymoons. In its blend of sexual confusion and social anxiety, it's the missing link between A Midsummer Night's Dream and Abigail's Party.
Guardian 17 February 2014
By Willy Russell. A Liverpool Playhouse review.
IF you ask a class of drama students why they chose their subject, a majority will answer with an anecdote about seeing a heart-stopping production at a formative age. For me, Willy Russell's Blood Brothers wasn't exactly that (when I saw it at the age of 18, I'd already developed a theatregoing habit), but it did make a tremendous impression. If I'm calculating right, it was Friday 7 January 1983, and I'd managed to buy a ticket for a preview performance in the very back row, upstairs at the Liverpool Playhouse. It must have been the last seat in the house.
Guardian 5 February 2014
THE conversation about Live Aid usually focuses on the unprecedented gathering of the world's rock music elite and the profile-raising benefits for Queen and Status Quo. Or we talk about the concert's effects on charitable giving and the change it made in the attitudes of rich nations to poor ones. Such concerns don't pass playwright Nicola McCartney by, but she goes a step further, in this co-production between A Play, a Pie and a Pint and Mull theatre, by presenting that day in July 1985 as a pivotal moment in British social relations.
Guardian 4 February 2014
By Kieran Hurley, Gav Prentice, Julia Taudevin and Drew Wright. A National Theatre of Scotland review.
"I'M not going to talk about doubts and confusion," sang the Proclaimers in The Joyful Kilmarnock Blues. The song comes at the start of this melange of music and monologue – a kind of state-of-the-nation ceilidh – even though the stories it tells are characterised by exactly that. Doubts and confusion abound in a snapshot impression of a country atomised, uneasy and restless for change.
Guardian 18 December 2013
ONE of the chief pleasures of Paul Bright's Confessions of a Justified Sinner was the slowly dawning realisation that all was not as it seemed. As a reviewer, it seemed churlish to give away the game, but not to do so would have risked missing the point. (Spoiler alert: there are plans for an autumn 2014 tour, so you may wish to stop reading now.)
by Mark Fisher
"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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