‘Locked in crosshairs’: Andy Edwards on the disorienting experience of watching Harry Josephine Giles’ catalogue of contemporary violences.
‘Before, after and aside’: Andrew Edwards writes on a multi-layered reworking of Ibsen’s classic from writer Stef Smith.
Last year’s model: Christine Irvine writes on attitudes towards technology in National Theatre of Scotland’s trilogy of tech-inflected dystopian shorts.
‘Constructed in layers before our eyes’: Andrew Edwards reviews imitating the dog’s ambitious, cinematic re-working of Joseph Conrad’s novel.
‘Like watching Trip Advisor glitching’: Lorna Irvine reviews German dance-theatre company Tatraum Projekte Schmidt’s piece on sharing space in contemporary Europe.
Farting geese and the spirit of Christmas: Andy Edwards reviews Johnny McKnight’s deliriously silly and subversive panto.
‘Meeting after meeting, difference after difference’: Andy Edwards reflects on a triple bill of Estonian contemporary performance in Glasgow.
Finding the language: Andy Edwards reviews Amy Rosa’s durational work exploring chronic pain and fatigue.
Dancing shadows: Colin Dunne’s tribute to Tommie Potts’ ‘undanceable’ 1972 album is a meditation on absence and time.
‘A vivid plea for understanding’: David Pollock reviews a promenade adaptation of Naoki Higashida’s book about the experience of autism.
Locked and loaded: the Scottish premiere of Stephen Adly Guirgis’ comedy is “blisteringly enjoyable”.
School gate politics: Lorna Martin makes an assured debut with A Play, A Pie and A Pint.
27 years later: Rona Munro’s play’s focus has shifted since its premiere in 1991.
“Company of Wolves’ micro-exploration of grief and pain seems achingly timely.”
Seems to push at the boundaries of your brain: Andrew Edwards reviews Robbie Thomson’s work as part of Sonica 2017.