EIF
My Light Shines On: Ghost Light
★★★★☆ Magical:
Ghost Light provides a poignant reminder of what we are all missing in this fallow year of live performance in Edinburgh during August.
The End of Eddy
★★★★☆ Inventive realism:
The End of Eddy at the Studio is both creatively playful and grippingly real, as a production of rare immediacy is built around a combination of technology and human interaction.
Waiting For Godot
★★★★☆ Clearly impressive:
Suffused with hope and hopelessness, Waiting For Godot at the Lyceum in the International Festival exemplifies all of the humanity and cruelty of Samuel Beckett’s landmark work.
Oresteia: This Restless House
★★★★☆ Drips grandeur:
Huge and elemental forces drive This Restless House, the version of the Oresteia by Zinnie Harris originally produced by the Citizens’ Glasgow and the National Theatre of Scotland last year.
The Divide Parts One and Two
★★★☆☆ Long time coming:
The official Festival’s flagship production of Alan Ayckbourn’s The Divide at the King’s contains multitudes.
Flight
★★★★★ Masterful
Vox Motus’ Flight is an emotional and powerful work of art – an experience like no other that stays with you long after leaving Edinburgh’s Church Hill Theatre.
Krapp’s Last Tape
★★★★☆ Slow but compelling:
Bringing Beckett to the Edinburgh International Festival, Irish Production Company Clare Street gives a fittingly understated treatment to Krapp’s Last Tape.
Meet Me at Dawn
★★★★☆ Mythic emotion:
Meet Me At Dawn, a new play by Zinnie Harris presented by the EIF at the Traverse, is a sombre but beautifully open-hearted depiction of love, loss and regret.
Rhinoceros
★★★★☆ Wild:
The EIF’s Rhinoceros is a thoroughly contemporary take on a modern classic, combining knockabout comedy with a deep consideration of human society.
Greek
★★★★☆ Dark and inventive:
Mark-Anthony Turnage’s operatic version of Greek, based on Steven Berkoff’s play, brings dark humour to the Festival Theatre as part of the Edinburgh International Festival.
