Royal Scots Club
The Joy of Sets
The challenges and rewards of set building
The Edinburgh Makars are looking for a volunteer to take the lead on set design and construction, as their current set builder, Alasdair Taylor, is looking to step down from the role to pursue other interests.
Tay Bridge
★★★★☆ Compelling
There is a confidence to the staging and performing of Tay Bridge, from Arkle at the Royal Scots Club for one week, that is thoroughly involving.
Silent Night
★★★★☆ Warming
Silent Night, from Arkle at the Royal Scots Club for one week only, is a cheering and beautifully assembled production.
The Wishing Well
★★★☆☆ Good concept
Kate Macsween’s one act play The Wishing Well, at The Royal Scots Club for the first week of the Fringe only, accentuates the pain of losing a baby or an infant.
Bloody Wimmin
★★★★☆ Connecting
Strong individual performances ensure that EGTG’s production of Lucy Kirkwood’s Bloody Wimmin, at the Royal Scots Club for one week only, gives real life to the connection between two protest movements, twenty years apart.
Our Boy
★★★★☆ Engaging
Building Blocks Collective’s production of Helen Hammond’s Our Boy, at The Royal Scots Club for the first two weeks of the Fringe, is staged in a manner that is in keeping with the subject of the play.
Krapp’s Last Tape
★★★★☆ Authentic Krapp:
Wistful and careful, Arkle’s production of Krapp’s Last Tape brings out the humanity in Beckett’s masterpiece. Often seen as a forbidding play, there is nothing remotely inaccessible about this.
Perfect Wedding
★★★★★ Practically perfect:
Perfect Wedding, the Edinburgh Makars’ production at the Royal Scots, is an object lesson in how to put on a farce.
The Taming of the Shrew
★★★☆☆ Uneven updating:
Arkle’s take on The Taming of the Shrew is a largely successful attempt to make relevant one of Shakespeare’s plays that is most troubling to modern audiences.
Low Level Panic
★★★★☆ High level:
Arkle’s early-evening production of Low Level Panic at the Royal Scots Club is excellently put together and performed.
