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.
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.
Satirical comment beaten into submission: Christine Irvine reviews the Tron Theatre’s resurrection of Anthony Neilson’s Christmas-time comedy.
A strange sort of hope: Andrew Edwards reflects on the Glasgow iteration of this collaborative, international, interdisciplinary artwork.
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.
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.
More like a temper-tantrum than a turning-point: Christine Irvine reviews the Tron Theatre’s new production of Yazmina Reza’s comedy.
“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.