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.
A deep-tissue massage for your brain muscles: Christine Irvine attends one of Heroes’ intimate stagings of Sea Wall in a Glasgow pub.
“Horror and grief seep, slither, crawl and loom”: Christine Irvine reviews Tom Wright’s new stage version of Joan Lindsay’s cult novel.
Creativity, imagination and anarchy: Christine Irvine reviews Anthony Neilson’s new version of Lewis Carroll’s classic children’s story.
Genuinely joyous communal theatre experience: Christine Irvine reviews Blood Of The Young at the Tron Theatre.
Light as frost, but never quite chilling: Christine Irvine reviews Rob Drummon’s taut family drama.
Energising and skin-crawling: Christine Irvine reviews a stage production of Trainspotting that doesn’t bow to the pressure of Danny Boyle’s film.
“As empty as George W Bush’s glassy stare”: Christine Irvine reviews the musical adaptation of Green Day’s early-noughties album.
“Merciless modern sensibility”: Christine Irvine reviews Zinnie Harris’ reworking of The Oresteia.
“A ferocious physical and psychological battle”: Christine Irvine reviews Frances Poet’s adaptation of August Strindberg.
Christine Irvine completes a marathon session of Rona Munro’s regal Scottish trilogy.