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.
*IF YOU HAVE NOTHING TO HIDE YOU HAVE NOTHING TO FEAR* Christine Irvine reviews Proto-type Theater’s exploration of surveillance technology.
Underdeveloped and ultimately forgettable: Caryl Churchill’s dissection of the nature/nurture debate is staged as part of the Edinburgh Science Festival.
More like a temper-tantrum than a turning-point: Christine Irvine reviews the Tron Theatre’s new production of Yazmina Reza’s comedy.
Putting politics to music: Christine Irvine reviews Drew Taylor’s “cathartic” work as part of the Take Me Somewhere festival.