Assembly Roxy
Cavalleria Rusticana
★★★★☆ effective:
Edinburgh Studio Opera has followed a path of noire inevitability into the dark heart of Mascagni’s Cavalleria Rusticana, the tale of a returning soldier, a spurned lover and a vengeful secret told.
Hand to God
★★★★☆ Hot puppet action:
Packed with expletives and hot puppet-on-puppet action, EGTG’s thoroughly entertaining production of Robert Askin’s Hand to God at the Assembly Roxy is not for the faint hearted.
Sherlock Holmes: The Final Reckoning
★★★★☆ Elegant:
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.
Rhinoceros
★★★☆☆ Interactive:
Theatre Paradok’s interpretation of Eugene Ionesco’s absurdist Rhinoceros at the Assembly Roxy is a bold attempt to bring the text into a modern setting.
Flutter
★★★★☆ Cheeky:
Built in a flurry of snow, Flutter from Tortoise in a Nutshell at the Assembly Roxy and then out tour, is the charming story of young sisters who venture out into the garden after a snowstorm.
All About My Mother
★★★☆☆ Ambitious:
Clever in its staging and ambitious in scope, the EGTG’s Scottish premiere of All About My Mother, at the Roxy to Saturday, provides plenty to satisfy but a certain amount of confusion along the way.
Islander
★★★★☆ Etherial:
Mystical in content and audacious in its presentation, Islander is a musical for just two performers which is thought-provoking and intriguing in equal measure.
The Pride
★★★☆☆ Involving:
The Pride, the debut production by Different Works at the Assembly Roxy, is very good at showing how the repressive urge for conformity destroys everyone, not just those who are seen as ‘different’.
Macbeth
★★☆☆☆ Darkly modest:
The Edinburgh Graduate Theatre Company take on Shakespeare’s Macbeth at Assembly Roxy this week, in a production which leans into all the horror and gore the tragedy reveals.
Oedipus & Hands Across the Sea
★★★★☆ Double Dose:
Congratulations to which ever member of the Edinburgh Makars thought of staging Sophocles’ bloody Oedipus in a seemingly incongruous double bill with a Noel Coward one-act farce. Truth is, the incongruity works.
