Traverse
PPP: Hotdog
★★★☆☆ Powerful
Hotdog by Ellen Ritchie, this week’s lunchtime theatre at the Traverse, is a powerful if uneven production, extremely well performed.
PPP: Pushin’ Thirty
★★★☆☆ Delicate
Traverse: Tue 19 – Sat 23 Mar 2024
Review by Hugh Simpson
Pushin’ Thirty at the Traverse is a delicate and evocative piece that does not always convince.
Escaped Alone
★★★★☆ Environmental dystopia
Following its Scottish premiere at The Tron earlier this month Escaped Alone, Caryl Churchill’s dystopian play that had its UK premiere at the Royal Court in 2016, comes to the Traverse for five performances only.
PPP: Starving
★★★★☆ Nutritious
Starving by Imogen Stirling, the latest Play, Pie and a Pint at the Traverse from Òran Mór in collaboration with Raw Materials, is a potent and fascinating piece.
PPP: Bread & Breakfast
★★☆☆☆ Spirited performances
Bread & Breakfast by Kirsty Halliday, this week’s Play, Pie and a Pint at the Traverse, moves away from the usual monologue or two-handed fare into the honourable tradition of misunderstandings, falling over and sticking your foot in a bucket.
PPP: JACK
★★★☆☆ Promising
Jack by Liam Moffat, the first offering from A Play, A Pie and a Pint in 2024 at the Traverse, is a charmingly exuberant production.
Ragnarok
★★★★☆ Dark
Tortoise in a Nutshell has brought all its considerable prowess in live animation to the stage with Ragnarok, a dark and foreboding take on an ancient Norse myth, foretelling the end of our world.
Envahisseurs (Invaders)
★★★★★ Jelly crime
It’s the little things which count in Compagnie Bakélite’s intense table-top object theatre, Envahisseurs (Invaders), at the Traverse as part of the Manipulate Festival 2024 for two performances only.
Plinth
★★★☆☆ Horrors of war
Writer and performer, Al Seed’s latest creation, Plinth, produced by his own company and Vanishing Point and touring to Manipulate, opens with Seed standing on a plinth giving a live rendition of a series of poses found in military statues.
The House
★★★★☆ Darkly comical
Danish director and puppeteer Sofie Krog introduces The House by reminding the audience that “walls have ears” and that the darkly comical tale will be told by the walls of the Warehouse Family Funeral Home.
