Edinburgh
David Kettle
I’m Ready to Talk Now, Traverse Theatre ★★★★There are, inevitably, certain challenges when reviewing a one-to-one immersive show that’s already pretty much sold out its entire Edinburgh Fringe run (though there are rumours of some last-minute additional tickets for I’m Ready to Talk Now being released). For a start, influencing potential audience members to buy or not buy a ticket goes almost entirely out the window. In addition, giving too much away might spoil the impact of Oliver Ayres’s brief, fragile but hugely powerful creation for those who have already booked.All that said, it’s the Read more ...
David Kettle
Alright Sunshine, Pleasance Dome ★★★★★Edinburgh writer Isla Cowan’s deceptively powerful solo show begins as an almost affectionate tribute to the city’s Meadows, fittingly just a few minutes down the road from the show’s venue – its yummy Morningside mummies taking their offspring to nursery, its chilled-out yoga groups, its joggers and gaggles of students hunched around disposable barbecues. By the show’s blazing close, however, the Meadows has become a place of violence and trauma, and the play has transformed into a blistering howl of fury and frustration at women’s conflicted role in the Read more ...
Miranda Heggie
"When I was your age, I worked in a corrugated cardboard factory!" is a phrase my father was fond of telling me as a teenager, presumably in an attempt to extol the virtues of a good Presbyterian work ethic.I wonder what he’d have made of his first place of employment as it was this weekend; all 15.5 acres of it covered with bright graffiti and transformed into performance space, dance floors and installations, complete with fully stocked bars and an array of food trucks. "The Paper Factory", as Edinburgh’s Hidden Door Festival have named it, is a former industrial site on the west of the Read more ...
Simon Thompson
There was a neat conjunction of commemorations to this concert, the most obvious one being the fact that that 2025 marks the 50th anniversary of the death of Dmitri Shostakovich, so it’s completely appropriate the Royal Scottish National Orchestra chose to end its season with a concert of his music. More than that, however, the composer himself heard this very orchestra (then called the Scottish National Orchestra) play his Festive Overture in the Usher Hall in 1962, during one of Lord Harewood’s Edinburgh Festivals. Therefore, there’s a pleasing symmetry to hearing this team playing it Read more ...
Adam Sweeting
Netflix’s new detective-noir is a somewhat cosmopolitan beast. It’s written and directed by an American, Scott Frank, derived from a novel, Mercy, by the Danish crime writer Jussi Adler-Olsen, and set in Edinburgh (as well as other flavourful Scottish locations). There are plenty of Scots in the cast too, although it’s the very English Matthew Goode (Downton Abbey, The Crown etc) who takes the lead role of DCI Carl Morck.But Morck not only doesn’t have a very English name, but is far from your ideal English gentleman with a Lady Mary on his arm. The series opens with a brutal incident in Read more ...
Simon Thompson
I was in Germany last week, and nearly every town I went to was advertising a St Matthew or a St John Passion taking place in the week up to Easter. It says something about how deeply engrained Bach’s Passion settings are in German culture that they can muster up so many performances while, in most years, we in Scotland get only one for the whole country.What a one it is, though. The Dunedin Consort are leaders in this repertoire and their acres of experience tell with every well-turned phrase, every carefully shaped cadence, and every dramatically pointed chord that gives life, meaning and Read more ...
Simon Thompson
The Scottish Chamber Orchestra has had to put up with its fair share of artist cancellations over the last month, and the ensuing games of musical chairs led to the somewhat implausible scenario of this concert, where Richard Egarr, a conductor more closely associated with Bach and Handel, conducted the UK premiere of a work by Peter Eötvös, that darling of the avant-garde.In fairness to Egarr, he did nothing more than what he does with the Baroque music for which he is so renowned: he played it with the clarity, shape and the expression it needed to come alive. Shape, in fact, was critical Read more ...
Miranda Heggie
What a delight to see an almost full Queen’s Hall for a programme solely of contemporary music. The Scottish Chamber Orchestra’s New Dimensions series, launched this season, sees a host of newer classical works performed and appears to be drawing in regular audience members as well as a younger crowd.Opening with James MacMillan’s Tryst, the orchestra wove together the sometimes angular strands of the music with concise conducting from principal conductor Maxim Emelyanychev. They were then joined by trumpet soloist Sergei Nakariakov for Jorg Widmann’s invigorating trumpet concerto Ad Absurdum Read more ...
Simon Thompson
The Philharmonia’s residency was the centrepiece of the Edinburgh International Festival’s final weekend, and it’s right that the orchestra should be the focus because they were consistently the finest thing about both their Verdi Requiem and their concert performance of Richard Strauss’ last opera Capriccio.First to Verdi. Not only was the playing rich and majestic, but there was terrific clarity, too, and I was repeatedly struck by how pristine the details were. I don’t think I’ve ever previously noticed the role of the piccolo, for example, and the quintet of horns made themselves Read more ...
David Kettle
L’Addition, Summerhall ★★★★ Bert and Nasi – or, more fully, writers/directors/actors Bertrand Lesca and Nasi Voutsas – are virtually Fringe royalty, having carved out a niche in recent years with playful, provocative shows that question theatrical conventions alongside often serious real-world topics (the Syrian conflict in 2017’s Palmyra, for example, or the EU and Brexit in 2016’s Eurohouse). This year they’ve almost transformed themselves into a meta-theatrical Morecambe and Wise, however, for a show (first seen at last year’s Avignon Festival) created with Tim Etchells, Read more ...
David Kettle
REVENGE: After the Levoyah, Summerhall ★★★★★ The Jews have had enough. After decades – centuries, in fact – of suspicion, name-calling, finger-pointing and violent persecution, they can’t even leave their Gants Hill or Barkingside flats, where London smears into Essex, any more. In 2019, though, things have really come to a head thanks to one figure: Jeremy Corbyn. Something needs to be done.Step in twins Dan and Lauren, plus dodgy ex-gangster Malcolm Spivak, who steals the show with his wide-boy pronouncements at their granddad’s funeral. Have the unlikely siblings got the balls to act Read more ...
David Kettle
Òran, Pleasance Courtyard ★★★★ Glasgow-based theatre company Wonder Fools are having a particularly busy Fringe. Alongside a revival of their excellent football drama Same Team at the Traverse Theatre, their far smaller, more intimate show Òran has company co-artistic director Robbie Gordon deliver a blistering solo performance inside a shipping container at the back of the Pleasance Courtyard. It’s far better than that probably sounds.And while Òran might open with smiles and camaraderie – with audience members greeted and assigned micro-roles, for example – things quickly get far Read more ...