Anne Lacey
Medea (EIF)
★★★★☆ Towering
Medea, Liz Lochhead’s triumphant retelling of Euripides has returned to Edinburgh. The new production, at the Hub as part of the International Festival, boasts a Medea from Adura Onashile that will surely be every bit as legendary as Maureen Beattie was first time round.
BookFest – The Final Whistle
Edinburgh International Book Festival 2019 Final Round-up:
The Edinburgh International Book Festival 2019 closed with its customary eclectic selection of events a remarkably prescient glitch and a Playing with Books presentation that showed exactly what such an adaptation can do.
Cuttin’ A Rug
✭✭✭✭✩ Cuts like mustard:
Fizzing with energy and wisecracking brio, the Citizens Theatre’s production of John Byrne’s Cuttin’ A Rug – at the King’s till Saturday – also has a careful and deep humanity.
PPP: Squash
✭✭✭✭✩ Troubling
Macabre and brutalised, Martin McCormick’s nerve-wracking offering for lunchtime theatre, A Play, A Pie and a Pint, has distinctly Lynchian overtones which director Finn Den Hertog relishes in bringing out.
13 Sunken Years
✭✭✭✭✩ River of emotion
Intriguingly stark, elusive and completely human, Stellar Quines and Lung Ha’s co-production of 13 Sunken Years has a poetic and mysteriously gripping quality.
Dear Scotland – Review
✭✭✭✭✩ Portrait of a mindset
Dear Scotland, You are a country of many fine actors, both young and old, a country with many ideas that have to be said and with many people who have the wit to say them. Now the NTS has found a stage on which this to happen.
First Look: Dear Scotland
It is half time at the press performances of Dear Scotland, the National Theatre of Scotland’s collaboration with the National Portrait Gallery. While we wait for Tour B to start, here are some photos of the show taken by Peter Dibdin.
Theatre Review – The Garden
★★★☆☆ Lingering:
Short, bleak and lingering, Zinnie Harris’ The Garden feels like a very fitting end to this Spring’s season of A Play, A Pie and a Pint at the Traverse.
Theatre Review – What We Know
★★★★☆
Warm, honest and beguiling, Pamela Carter’s new play for the Traverse Too strand of experimental productions is also a sharply brutal affair that is capable of leaving its audience utterly dumbfounded.
