Things untangle, things change: Andrew Edwards is mesmerised by Saffy Setohy’s “hugely generous” new performance installation at Dance International Glasgow.
Beautiful images of growth, change and rebirth: Andrew Edwards is mesmerised but left cold by Fleur Darkin’s eclectic Scottish Dance Theatre show at Tramway.
And we wait: Andrew Edwards is both excruciatingly bored and enormously impressed by Margrét Sara Guðjónsdóttir’s inertia-ridden show.
So much room to breathe: Andrew Edwards spends hours at Siobhan Davies Dance’s multi-faceted installation at Tramway.
Other-worldly, historic and contemporary all at once: Andrew Edwards reviews Dance International Glasgow’s urban re-siting of this JG Ballard inspired solo dance show.
Watching the world come to a standstill: Andrew Edwards reviews Stef Smith’s new play about technology and human connections.
“Gently exposes its audience’s attitudes”: Andrew Edwards reviews an immersive performance examining the spaces where people with disabilities are both users and creators of pornography.
Extraordinary in its range, excess and incision: Andrew Edwards reviews Jaamil Olawale Kosoko’s “challenging, necessary and entirely relevant” work as part of the Take Me Somewhere festival.
The qualities of agony, anxiety and desire contained within endings: Andrew Edwards reviews Company of Wolves’ new work in Glasgow.
A present tense of terror: Andrew Edwards reviews Agrupación Señor Serrano’s performance at the Manipulate festival 2017.
Where in the city do you belong? Andrew Edwards reviews the UK premiere of Théâtre De La Pire Espèce’s imaginary urban spaces work.
Boat building: Andrew Edwards reviews Tortoise in a Nutshell’s opening performance at Manipulate 2017.
A love that contorts, twists, fades, appears, shatters: Andrew Edwards concludes the Unlimited festival in Glasgow with a beautiful work by the Marc Brew Company.
57% water, and well, some other stuff: Andrew Edwards reviews a performance considering what makes up a human.
The weight of somebody’s feet on your knees: Andrew Edwards reviews “a hugely accessible work about access” at the Unlimited festival in Glasgow.