‘Head above water’: Andrew Edwards reviews Theatre Gu Leòr’s multilingual play about climate crisis and the erosion of the Gàidhlig language.
Andrew Edwards writes on the “exhilaration and fear-induced defecation” of Jian Yi’s ambitious, visually rich multimedia fusion of Butoh and live art.
Welcome to the Meadowdrome: Andrew Edwards writes on Frauke Requardt and Daniel Oliver’s participatory show about neurodivergence and family-building.
Rave speed 0.25: Andrew Edwards writes on French choreographer Gisèle Vienne’s slow motion, dirt-smeared party.
‘Dances for those who dance them’: Andy Edwards on V/DA’s survey of Afro-Caribbean dance and its radical ‘strategy of refusal’.
Andy Edwards writes on four encounters with Glasgow’s Take Me Somewhere, an annual festival of live performance.
‘Locked in crosshairs’: Andy Edwards on the disorienting experience of watching Harry Josephine Giles’ catalogue of contemporary violences.
‘Before, after and aside’: Andrew Edwards writes on a multi-layered reworking of Ibsen’s classic from writer Stef Smith.
‘Constructed in layers before our eyes’: Andrew Edwards reviews imitating the dog’s ambitious, cinematic re-working of Joseph Conrad’s novel.
Farting geese and the spirit of Christmas: Andy Edwards reviews Johnny McKnight’s deliriously silly and subversive panto.
‘Meeting after meeting, difference after difference’: Andy Edwards reflects on a triple bill of Estonian contemporary performance in Glasgow.
Finding the language: Andy Edwards reviews Amy Rosa’s durational work exploring chronic pain and fatigue.
Dancing shadows: Colin Dunne’s tribute to Tommie Potts’ ‘undanceable’ 1972 album is a meditation on absence and time.
“The scale, despite the ramshackle surroundings, is huge.” – Andrew Edwards writes on the joys of Leith’s eclectic multi-disciplinary arts festival.
Walking in the air: Storyboard P’s Afrofuturist performance defies gravity to put a smile on your face.