SINCE 1880
Editor's picks
RSC automation technician Simon Crowley: ‘I thrive on the pressure when big audiences turn up’
Automation specialist Simon Crowley is responsible for ensuring the scene changes at the Royal Shakespeare Company are seamless. He tells Nick Smurthwaite about the...
Could Emilia Bassano, the ‘woman ignored by history’, be Shakespeare’s Dark Lady?
Historians have argued whether poet Emilia Bassano was the muse of Shakespeare’s Sonnets. Nick Smurthwaite finds out more about the inspiration for the Globe’s...
Latest stories
Lyn Gardner: Touring a concept can be as powerful as touring a finished show
As we enter the third week of the Edinburgh Festival Fringe, companies, producers and programmers will be making plans to tour their shows in...
Dandy Darkly’s All Aboard! review at Underbelly Bristo Square, Edinburgh – ‘queer storytelling with creative eloquence’
Of all the American performers currently integrating apologies into their work at the moment, none comes close to the creative eloquence of queer storyteller...
Kids Play review at the Space, Edinburgh – ‘Expertly crafted comedy-drama’
Within the first few minutes of Kids Play, you think you've got the premise pretty much tied up. Booted and suited, Greg is playing...
DUPed review at Sweet Grassmarket, Edinburgh – ‘twisting narrative of Northern Irish politics’
When there's nothing but a bible and megaphone by way of set or stage dressing in a performance about the DUP, you know for...
Dangerous Giant Animals review at Underbelly Cowgate, Edinburgh – ‘Detailed and unadorned writing’
A lot of the writing in Dangerous Giant Animals is so good because it’s so taut and simple. Christina Murdock picks small episodes from...
The Rockford File review at Pleasance Dome, Edinburgh – ‘great idea that needs better dramaturgy’
If The Rockford Files is the main point of reference in your show, then chances are your expected audience will be in the over-50s...
Extinguished Things review at Summerhall, Edinburgh – ‘restrained exploration of the traces we leave behind’
Writer-performer Molly Taylor unpacks the lives of the couple she grew up down the street from. A jumble of memories, objects and incidents, this...
Songlines review at Pleasance Courtyard, Edinburgh – ‘sensitive and soulful gig theatre’
Ah, be still my beating heart. Tallulah Brown’s Songlines, co-produced by DugOut Theatre and HighTide, is the kind of quirky teenage love story that...
Chihuahua review at Assembly Roxy, Edinburgh – ‘commendable degree of ambition’
There’s a commendable degree of ambition to House of Mirth’s new play Chihuahua, but the execution isn’t there to match it.
Phil Bartlett and Sarah...
Signals review at Pleasance Courtyard, Edinburgh – ‘touching, two-handed comedy’
The National Student Drama Festival is such a potent Petri dish for young companies; it’s galvanising to see so many recent participants continuing to...
The Beggar’s Opera review at King’s Theatre, Edinburgh – ‘seriously out of touch’
John Gay’s 1728 opera was so popular in its time because it erased all the class associations of snobbish Italian opera. Gay kept the...
Strangers: Pairs review at Greenside, Edinburgh – ‘a nice idea’
The concept here is strong: to work magic into the narrative of a theatre piece. But this collection of three scenes doesn’t come close...
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