‘A story without an ending’: Andrew Edwards writes on Daniel Kitson’s account of the pandemic, from within the thick of it.
‘Pure Dickens’: Christine Irvine writes on Douglas Maxwell’s power-struggle play about a Mod-obsessed asylum seeker and a disillusioned academic.
Found in translation: Crystal Bennes on the bizarre pleasures of Pu Songling’s classical Chinese fables, adapted for the stage by Grid Iron.
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.
National heroes: Crystal Bennes writes on Scottish nationalism in her review of Wonder Fools’ play about four Scottish miners who volunteered to fight in the Spanish Civil War.
Reinterpreting revenge: Crystal Bennes writes on contemporary relevance in Zinnie Harris’s retelling of John Webster’s bloody tragedy.
Raining on the parade: the magic of David Greig and Mark Knopfler’s musical adaptation of the much-loved 1983 film Local Hero is lost on Crystal Bennes.
Missed the boat: Crystal Bennes reviews Scottish Opera’s new commission about scientists on a research expedition to Greenland.
Using a voice: Crystal Bennes writes on the ‘ethical quandary’ of representation in Kieran Hurley’s examination of class and the appropriation of stories.
A frenzied, facetious production: Crystal Bennes reviews Opéra de Lyon’s performance of Rossini’s Cinderella.
‘Deeply, profoundly ridiculous, but an enjoyable night at the theatre all the same’: Crystal Bennes reviews an attempted update of John Gay’s ballad opera.
Friendship and doodling: Rosemary Waugh reviews Druid Theatre’s staging of Beckett at the Edinburgh International Festival.
‘The air of stifling, claustrophobic routine’: David Pollock reviews Martin McCormick’s absurdist play
Angry and childishly misogynistic: Stewart Laing’s new Strindberg adaptation doesn’t challenge itself enough.
Fear in the 21st century: Frances Poet’s Bruntwood-shortlisted play is astute and unsettling.