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.
“A grief whose depths I can’t imagine”: Andrew Edwards reviews a sonic meditation on the North Sea Flood of 1953.
Seems to push at the boundaries of your brain: Andrew Edwards reviews Robbie Thomson’s work as part of Sonica 2017.
A noise not possible on dry land: Andrew Edwards reviews Between Music’s performance playing custom-made musical instruments underwater.
The start of a conversation? Andrew Edwards reviews Wonder Fools’ show about watching porn.
A strange sort of hope: Andrew Edwards reflects on the Glasgow iteration of this collaborative, international, interdisciplinary artwork.
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.