Made In Edinburgh
POP-UP Duets, Janis Claxton’s series of nine dances on the theme of love at various locations in the National Museum in Chambers Street, is refreshing, beautiful and an excellent idea all round.
Assiduously performed, and building up an air of mystery, The Rose and Crown has much about it that is striking.
There is an interesting premise behind Ronnie and Jonny, the comic play from Steve Griffin and Keith Muddiman at 48 Below underneath the Phoenix in Broughton Street. However, its story is not sufficiently worked out, and it is only intermittently funny.
My Dog’s Got No Nose, presented by Phil Barnes for Arkle at the Royal Scots Club, is a well acted piece that manages to sustain considerable interest.
By turns absurd, winsome and tragic, Theatre Paradok’s Lippy at theSpace on the Mile is a challenging, bleakly funny and ultimately impenetrable affair.
Convincing portrayals and realistic emotions are a feature of the Makars’ production of Neil Simon’s The Gingerbread Lady at the Royal Scots Club.
Well sung and staged with energy and economy, Captivate Theatre’s Les Miserables has considerable drive.
Short but decidedly not sweet, Collateral Damage is sharp and spiky.
Affecting and emotional, Charles Hindley’s Eugene & Elvis at Silk is a rawly human musing on love, loss, family ties and the healing power of music.
★★☆☆☆ Lacking in fury:
There is a pleasing energy and political commitment to Pinched! Theatre’s feminist entertainment The F Words at Greenside, but as a show it fails to cohere.