Family monsters: Christine Irvine reviews Oliver Emmanuel’s dark, tormented play about an estranged mother and daughter.
Airlock of the heart: Christine Irvine reviews a visually dazzling but psychologically unsatisfying adaptation of the sci-fi classic from David Greig and Matthew Lutton.
Slapstick under a scalpel: Christine Irvine reviews Debbie Hannan’s pastel-plastic production of Marius von Mayenburg’s satire on beauty and fame.
All change: Christine Irvine writes on the shape-shifting theatrics of Pamela Carter and Stewart Laing’s exploration of change.
Last year’s model: Christine Irvine writes on attitudes towards technology in National Theatre of Scotland’s trilogy of tech-inflected dystopian shorts.
Angry and childishly misogynistic: Stewart Laing’s new Strindberg adaptation doesn’t challenge itself enough.
Locked and loaded: the Scottish premiere of Stephen Adly Guirgis’ comedy is “blisteringly enjoyable”.
Salacious bombast: David Leddy’s obscene homage to Jean Genet might require a reading list.
“Company of Wolves’ micro-exploration of grief and pain seems achingly timely.”
Satirical comment beaten into submission: Christine Irvine reviews the Tron Theatre’s resurrection of Anthony Neilson’s Christmas-time comedy.
Chilling isolation in an untameable wilderness: Christine Irvine reviews Blue Raincoat’s retelling of Ernest Shackleton’s doomed expedition.
A characteristically touching return: Christine Irvine warms to Ramesh Meyyappan’s new solo show exploring mental health through physicality and magic.
Christine Irvine discovers Douglas Maxwell’s new work combines “the magic of a Grimm Brothers fairy-tale, with the magic of being fourteen and off your head on peach schnapps.”
Colour-telly ambience: Christine Irvine reviews the world premiere of Blood of the Young’s play about a pioneer of electronic music.
Lean, mean and theatrically audacious: Christine Irvine is gripped by Fire Exit director David Leddy’s first one-man show in over a decade.