EUTC
Salomé
★★★★☆ Uneven but compelling
Edinburgh University Theatre Company’s presentation of Oscar Wilde’s Salomé is wilfully uneven, not always carefully judged, yet ultimately extremely impressive.
Shakers
★★★☆☆ Funny
The EUTC make a decent fist of Shakers, at the Bedlam all week, playing to the broad comedy of the John Godber and Jane Thornton’s script but finding their best in its moments of pathos.
Listings Mon 27 Feb – Sun 5 Mar 2023
What’s on Edinburgh’s Stages this week…
It’s a week of fierce performances on Edinburgh’s stages, with the return of lunchtime theatre to the Traverse while the Edinburgh students do the heavy theatrical lifting with their interpretations of two hefty works.
Spiderman: Into the Pantoverse
★★★☆☆ Cheerful
Complicated plot twists and uncomplicated fun collide in Spiderman: Into the Pantoverse, EUTC’s unruly but heartfelt pantomime which plays at the Bedlam to Saturday.
A Dolls House
★★★☆☆ Effervescent
The EUTC have taken Ibsen’s great classic, A Dolls House, and given it an immersive telling at the Bedlam all week, in a production which updates the setting to contemporary times.
Fire Signs
★★★☆☆ Relatable
Fire Signs from the Edinburgh University Theatre Company at Pleasance Courtyard until August 15, is a celebration of the intensity of friendships at university.
The Roses of Eyam
★★★★☆ Unexpected insights
Disconcertingly relevant, the EUTC’s production of Don Taylor’s The Roses Of Eyam at the Augustine United Church until Sunday provides unexpected insights into our own plague years.
Mary Queen of Scots got her Head Chopped Off
★★★★☆ Clear bright corbie:
The EUTC bring a strong understanding and sense of purpose to this production of Liz Lochhead’s great 1987 play Mary Queen of Scots Got Her Head Chopped Off, at the Bedlam to Saturday.
She Can’t Half Talk
★★☆☆☆ Unconvincing lives:
She Can’t Half Talk, EUTC’s Fringe production at the Bedlam, is a varied set of stories that contains much of promise but fails to convince as a coherent whole.
White
★★★★☆ Layered:
Comic, brutal and certainly confrontational, the UK premiere of James Ijames’ White at St Cecelia’s Hall delivers a well-judged prod at the often unguarded underbelly of white liberal self-satisfaction.
