Monday, August 20, 2018

Gulliver Returns review at Underbelly Cowgate, Edinburgh – ‘inventive expansion of Swift’s novel’ by Tim Bano

As Lil points out at the beginning of this startling reinterpretation of Jonathan Swift’s satire, the only bit of Gulliver’s Travels people

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#MeToo at Edinburgh Festival Fringe: ‘Our stories are more relevant than ever’ by Emily Jupp

Sexual harassment in the industry has been the hot topic of 2018, and it’s no different at Edinburgh. Emily Jupp hears from

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Hymns for Robots review at C Aquila, Edinburgh – ‘super-smart recreation of the life of a pioneer’ by Tim Bano

Earlier this year the BBC announced it was shutting down its Maida Vale studio. It’s a shame considering its incredible history, no

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Games review at Gilded Balloon Teviot, Edinburgh – ‘competent but clinical’ by Fergus Morgan

You know what you’re getting with a Henry Naylor play by now. An authoritative voice, a well-researched story, an unapologetically political message,

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The Half Moon Shania review at Zoo Southside, Edinburgh – ‘infectiously exuberant gig-theatre show’ by Fergus Morgan

Burnt Lemon Theatre – freshly minted as a New Diorama Graduate Emerging Company for 2018-19 – is well worth watching, judging by

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Void review at Summerhall, Edinburgh – ‘overwhelming but opaque dance adaptation’ by Ben Kulvichit

In JG Ballard’s novel, Concrete Island, an architect is left stranded after a car accident in an area of overgrown wasteland in

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West End actor Layton Williams turned away from Edinburgh Fringe venue amid claims of ‘racial profiling’ by Georgia Snow

Edinburgh Fringe venue operator Assembly has been accused of racial profiling after an actor was refused entry to a show because staff

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European Citizen Popsong review at Summerhall, Edinburgh – ‘sweet, but slight and superficial’ by Fergus Morgan

Multi-disciplinary Belgian theatre-maker Marieke Dermul wants to enter Eurovision 2019 with her European Citizen Popsong – an anthem combining musical influences from

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Leading theatres and casting directors sign up to #YesOrNo audition campaign by Giverny Masso

Organisations including the National Theatre and the Royal Shakespeare Company as well as leading casting directors have committed to giving every actor

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Freeman review at Pleasance Courtyard, Edinburgh – ‘harrowing stuff realised with vitality and vibrancy’ by Fergus Morgan

Inspired by the story of William Freeman, the first defendant to plead insanity in a US court, Camilla Whitehill and Strictly Arts’

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In for a Penny review at Gilded Balloon Teviot Row, Edinburgh – ‘amusing and light-heartedly anecdotal’ by Thom Dibdin

Libby McArthur draws on a true story from her own past, when she was arrested and sentenced to prison for non-payment of

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The Extinction Event review at Pleasance Courtyard, Edinburgh – ‘brilliantly bewildering’ by Fergus Morgan

I have no idea what goes on in The Extinction Event. Not a clue. Simon Evans and David Aula – theatre directors

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The Hit review at Summerhall, Edinburgh – ‘intelligent but inaccessible’ by Fergus Morgan

You won’t come across many shows like The Hit, a solo hour of storytelling performed entirely by a puppet. Strangeface’s play takes

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An Evening with Miss Wong review at Assembly Rooms, Edinburgh – ‘fascinating but theatrically insipid’ by Ben Kulvichit

Anna May Wong was one of a kind. Widely considered Hollywood’s first Chinese-American movie star, she had a prolific career and starred

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Benny review at Gilded Balloon, Edinburgh – ‘unimaginative biopic of a comedy legend’ by Paul Vale

When Benny Hill died in 1992, his body lay undiscovered for two days. His career as a comedian had been over for

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The Swell Mob review at Assembly George Square, Edinburgh – ‘a heady affair that could be tighter on the details’ by Paul Vale

The Flabbergast Theatre members are the regular fringe creatives behind the puppet creations Boris and Sergey. This year, the creative team has

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Flies review at Pleasance Courtyard, Edinburgh – ‘a little bit brilliant’ by Fergus Morgan

Pteronarcophobia. That’s the fear of flies. And it’s what drives this intelligently staged co-production between master storytellers Les Enfants Terribles and family-focused

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Poll: What proportion of auditions have you received a yes or no response from? by The Stage

Last week, the National Theatre committed to giving every actor it auditions at least a yes or no response. The move comes

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The Bench review at Gilded Balloon Rose Theatre, Edinburgh – ‘engages right up to the last’ by Thom Dibdin

Tightly wound and shot through with an utterly surprising melancholy, Keir McAllister’s tale of two men feuding over their right to relax

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Don Giovanni review at Waterperry Opera Festival – ‘exhilarating momentum’ by Yehuda Shapiro

This Don Giovanni, presented in a neo-classical stone amphitheatre, inaugurates the Waterperry Opera Festival in rural Oxfordshire. It shares the programme with

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Trial by Jury/The Sorcerer review at Royal Hall, Harrogate – ‘double bill combines tradition with innovation’ by George Hall

Two works from the early years of the Gilbert and Sullivan partnership are presented together and in contrasting manner. Festival founder Ian

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Sparks review at Pleasance Courtyard, Edinburgh – ‘raw and emotive mixture of music and storytelling’ by Natasha Tripney

Sparks is one of those shows that makes you want to call the people in your life that you love and hear

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La Maladie De La Mort review at Royal Lyceum Theatre, Edinburgh – ‘hypnotic, numbing and technically audacious’ by Natasha Tripney

Katie Mitchell and Alice Birch’s adaptation of The Malady of Death, the 1982 novella by Marguerite Duras, is technically audacious. Using a

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Iolanthe review at Royal Hall, Harrogate – ‘contains moments of sheer bliss’ by George Hall

It’s evidence of the ongoing popularity of Gilbert and Sullivan that this year alone the UK has seen three professional productions of

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Nine Foot Nine review at Assembly Rooms, Edinburgh – ‘ambitious, if overly earnest’ by Natasha Tripney

Alex Wood’s ambitious debut science-fiction play envisions a world in which women suddenly start to grow. Overnight their bodies expand and their

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The Flop review at Summerhall, Edinburgh – ‘weird and wonderful musical farce’ by Tim Bano

It’s a winner, this combination of Hijinx and Spymonkey. Hijinx works brilliantly with actors who have learning disabilities, while masters of daftness

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Closets review at Hope Mill Theatre, Manchester – ’emotional time-travelling musical’ by Nigel Smith

Lloyd Eyre-Morgan and Neil Ely’s new musical Closets opens up an important discussion with great charm and sensitivity. It’s 1988 and 16

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Full casting announced for Pack of Lies at Menier Chocolate Factory by Georgia Snow

Tracy-Ann Oberman and Alasdair Harvey are joining the cast of Pack of Lies at the Menier Chocolate Factory in London. They join

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The Forecast review at Zoo Charteris, Edinburgh – ‘visually arresting but surprisingly flabby’ by Ben Kulvichit

Limbik Theatre’s adaptation of George Saunders’ short story, The Semplica Girl Diaries, has a nightmarish premise. Set in a near future, the

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War with the Newts review at Summerhall, Edinburgh – ‘always engaging and performed slickly’ by Fergus Morgan

Based on Karel Capek’s 1936 sci-fi novel of the same name, Knaive Theatre’s War with the Newts immerses you in an apocalyptic

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The Song of Lunch review at Pleasance Courtyard, Edinburgh – ‘insubstantial and overwritten’ by Tim Bano

Purportedly a comedy, purportedly a dark one, there’s no evidence of that in Christopher Reid’s verse piece about a middle-aged man meeting

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