Jo Rush
Easter Play becomes Edinburgh Passion
Easter story to be told in 63 hour epic:
The Princes Street Easter Play is to be expanded this year into a city-wide community play, The Edinburgh Passion, with different groups telling the story of Jesus’s death and resurrection in real time across the city.
Ivory Wings
★★★★☆ A soaring success:
Ivory wings at the Assembly Rooms is a beautifully written and performed new one woman show by Susie Coreth, which explores Alzheimer’s and the effect music can have on memory.
Theatre Uncut goes Traverse
Power Plays for Traverse & Tron:
Theatre Uncut’s 2018 free-to-perform scripts, the Power Plays, are to get script-in-hand performances at the Traverse theatre next week, on Thursday 7 June 2018 from the Braw Fox theatre company.
Discover Theatre Uncut
Rights-free experiment coming to Discover 21:
Three of this year’s Theatre Uncut pieces are being performed on Wednesday 26 November at Discover 21 by local grassroots company Urban Fox.
The Dark Road Rushes – Seven
Previews are like the laboratory trial for a show. In a preview you recreate the conditions of the final production as closely as possible by having all the technical elements of the play in place and putting it in front of an audience.
The Dark Road Rushes – Six
Tech week – The sixth rehearsal-room blog from Jo Rush, AD on Dark Road, the collaboration between crime writer Ian Rankin and Lyceum artistic director Mark Thomson.
The Dark Road Rushes – Five
The fourth week of rehearsals for Dark Road has seen us make the biggest transition of our rehearsal process so far – out of the rehearsal room and into the theatre. Hopefully the experience won’t prove as traumatic as the proverb that phrase is riffing on!
The Dark Road Rushes – four
Dark comedy: The fourth rehearsal-room blog from Jo Rush, AD on Dark Road, the collaboration between crime writer Ian Rankin and Lyceum artistic director Mark Thomson.
The Dark Road Rushes – Three
In Jo Rush’s rehearsal room blog from Dark Road by Ian Rankin and Mark Thomson, she discusses the importance of moving round the stage and reveals her pedantic side as omnipotent ruler of the play’s timeline…
