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Review: Dorian Gray

King’s Theatre, Edinburgh

It’s no surprise Matthew Bourne picked Edinburgh and its International Festival to launch what will likely be another of his bestselling ‘dancicals’. Sixteen years ago in the very same King’s Theatre his production of The Nutcracker had its premiere and signalled the beginning of a meteoric rise that would propel him to worldwide success. Read more

Review: 365

Edinburgh Playhouse (EIF)

Writer David Harrower spoke in an interview a month or so prior to this production about how most of the script was still unwritten at that time, as the truths being brought out by the young actors made most of his work seem out of touch with reality. Certainly, it is a frighteningly difficult task to try and encompass the varied experiences of the many teenagers in care in Scotland today in a balanced and yet dramatically interesting way, but the resulting collection of stories, abruptly-told tales of lost and confused youths making their first steps into the outside world, seems as if it could have benefited from a longer writing period. Read more

Review: Class Enemy

Royal Lyceum Theatre (EIF)

In adapting Nigel Williams’ incendiary 1970s classroom drama, director Haris Pašoviæ has sought to express the often-unheard voice of a disaffected and violent youth, which is given especial relevance in the remnants of the war-scarred Balkans. Read more

Review: Mortal Engine

Edinburgh Playhouse (EIF)

Australian dance theatre company Chunky Move have, thanks to their astounding technological innovation, raised the bar for what it is possible to expect to see on a stage. Dancers, in moving across the bare white ramp that forms the entirety of Mortal Engine‘s set, actively create their own lighting effects with their movement, spinning into and out of light patterns that respond to every extension. Read more

Review: 4.48 Psychosis

King’s Theatre, Edinburgh (EIF)

Sarah Kane’s final work before her suicide, a staging of 4.48 Psychosis usually proves to be an intense experience for any audience, and this production by Polish company TR Warszawa is no exception. For one brutal, breathless, heart-clenching hour, everyone’s eyes are glued only to the harrowing spectacle, as a poetic chasm of despair and depression is torn open in front of them. Read more

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