Month: May 2024

REVIEW: Sniff

Published on by carlamcphersonLeave a comment

Rating: 5 out of 5.

A darkly comedic exploration into small towns, loneliness and addiction

Sniff written and performed by Gabriel Fogarty-Graveson and Felix Grainger, is a phenomenally dark roller coaster ride of a two hander, exploring a plethora of issues facing young men in society today.

When strangers Liam and Alex meet in the toilet of the Old Swan on a Friday night, what is about to ensue, no body could have predicted. Alex: an ‘advert man’, working in the city. He has it all: the job, the money and a soon-to-be financé – his whole reason for coming to the pub was to propose. All goes askew when he meets Liam. 

Liam: he feels like he has missed the boat of life. He never went to Uni and has stayed in his home town being witness to all his best friends as they move up in the world around him, whilst his has remained in the exact same place, with no sense of direction. He’s in the bathroom doing coke.

Sniff is a remarkably well written two hander, which explores how a relationship can form over the course of an evening and stakes can raise when boredom is at the core of your life, and nothing is as it seems.

The writing is dynamic, fast paced and witty, and takes the audience on a windy journey, with a very unexpected twist at the end. The humorous one liners are a very welcome escape from the darkness that ends the piece. 

The set is simple: a couple of posters, a mirror, a toilet and a toilet door. The rest the actors bring to life, as they shift into a range of characters in flashback sequences where we meet people from Alex and Liam’s life that exist outwith the bathroom. The performances are entrancing and the connection between the two actors is phenomenal to watch, as they size each other up, find things in common and sing “more than a woman” in perfect synchronicity. 

This piece feels very relatable. In an age where we are spending more time disconnected from each other, and are increasingly turning to other means to feel fulfilled: drugs, drink, betting… the list goes on, this piece shines a much needed light on the darkness that is seeping into young adults navigating their lives in this day in age. This is a must see. Catch Sniff at The Hope Theatre all next week, before it’s too late!

REVIEW: Scottish Ballet – A Streetcar Named Desire

Published on by Ke MengLeave a comment

Rating: 4 out of 5.

A compelling blend of sensuality and subtext. Shows how a narrative ballet can be just as powerful as language

Intense, sensual, poignant. Dangerously intriguing, A Streetcar Named Desire has continuously lured its audience for more than half a century. Years ago, Scottish Ballet transformed this Tennessee Williams classic into a ballet piece blending traditional ballet techniques with contemporary choreography and a modern jazz orchestra (scored by Peter Salem and performed by the Scottish Ballet Orchestra). Several years later, it revisits Sadler’s Wells under the direction of Nancy Meckler and choreography by Annabelle Lopez Ochoa.

The show is in general well-structured and devised. Nicola Turner’s design astounds with its brilliance, handling both the vast and majestic sets like the old house of Belle Reve that is devastated into ashes in the first act. It also captures the most delicate and trivial moments such as at the beginning and end, where Blanche (Marge Hendrick) dances upwards to a light bulb, indicating the play’s original name Moth – a creature desperately yearning for what will eventually destroy her.

The design works seamlessly with Tim Mitchell’s lighting and Ochoa’s choreography. At the DuBois house in Belle Reve, the house party dance features the ensemble with elegant waltz and bright light. When the narrative progresses towards the working-class New Orleans setting, the vibe shifts to 1920s swingy-jazzy music in nightclubs of poker games with ambiguous and flirtatious purple-blue lighting tone coming into effect. Interwoven is the haunting ghost of Alan (Javier Andreu) – Blanche’s late husband who committed suicide due to his homosexuality – appearing intermittently, with eerie blue lighting symbolising Blanche’s internal world.

Portrayed by Scottish Ballet principal Marge Hendrick, Blanche exhibits a characteristic of extreme delicate neurosis. At the meantime, she performs a powerful bodily presence that depicts another side of Blanche, implicit in the text: her secret desire for Stanley. Evan Loudon prowls the stage through his alpha-male portrayal of Stanley, often half-naked, forming a tacit and remote parallel to Blanche’s frequent bathing ritual, each hinting at their unconscious attempt to attract the other’s attention.

Together with Loudon, Claire Souet as Stella delivers an extraordinary duet featuring the couple’s consummation, which is elegant, symbolic, and extremely sensual. This contrasts sharply with the late sexual assault scene as cold and brutal. However, compared to Stella and Stanley’s duet, this scene feels less choreographed, simply mimicking in a realistic way that fails to convince and strike the audience. Thomas Edwards portrays a Mitch, Blanche’s fiancé, as an antithesis of Stanley – dingy, nice, yet lacking any magnetic charm. 

Nevertheless, beyond the cast and creative team, I quite doubt the production’s decision of the “prologue” in the first act. In the original play, Blanche’s traumatic and devastating past is only revealed through her conversations with Stella and Stanley, as well as Stanley’s own investigation. This gradual revelation process builds up suspense and drama, and it creates a crucial power dynamic in storytelling: whose version do you believe, Blanche’s monologues or Stanley’s investigations? What is illusion and what is real?

Those questions are gone with its plot dynamic when Meckler decides to dance out Blanche’s past at the very beginning of the show, nullifying all dramatic tension and suspense into a plain and dull chronicle. Even though the haunting ghost of Alan appears several times to remind us of Blanche’s incrementally collapsing psyche, this appears as much lightweight. 

A Streetcar Named Desire showcases the potentiality of how a narrative ballet can be just as compelling as the power of language, yet it could undoubtedly achieve greater depth if richer and more complex storytelling devices and techniques could be employed.

THE TWO GENTLEMEN OF VERONA Oxford Playhouse Credit Geraint Lewis

REVIEW: The Two Gentlemen of Verona

Published on by ljbintLeave a comment

Rating: 5 out of 5.

Effectively applied modern context makes this a funny, empathetic, must-see production of a Shakespeare comedy

This production of The Two Gentlemen of Verona had a wonderfully modern feel, but kept to the original words with a level of understanding, and modern humour, that ensured they came across with a purity that could be fully appreciated. The modernity of football boots, manicures, Hinge, and Take Me Home, Country Roads gave new levels of accessibility to this Shakespearean comedy. 

My favourite thing about this production, without a shadow of a doubt, was that it did not shy away from the horrifyingly misogynistic and problematic language and actions of Proteus (played by Rob Wolfreys), and the allowances that Valentine (played by Will Shakleton) makes to his friend after he has apologised for the impact his actions have had on Valentine…but not the women. This acknowledgement was done silently, and carefully, with no direct impact on the speech or the spoken story – however the tone was beautifully managed by the women (Lilia Kanu and Rosie Mahendra, respectively) on stage in silence. Their body language, and facial acting demonstrated wonderfully their disapproval, shock, and that they no longer wished to be involved with these men who had forgotten that they have a say in the future that they wish to participate in.

The modern context that this show is being performed in is a post “Bear or Man” debate which gives even more meaning to Mahendra’s lines about preferring to be stuck with a tiger in the woods than with Proteus. Proteus, like a number of other men online, did not understand what this meant and threatened to make her care for him by use of force. It is a far more relevant play than people will expect given its age and the modern setting truly highlights this well. 

The costumes and props were great, and used well to showcase more of who each character was within the society of the play. One excellent detail was the bright red heels worn by the bodyguards during the scene used to introduce Jake Roberston’s Duke of Milan.

The set design was also handled well with the modern context, the stages space was used well and never felt overcrowded. One picturesque detail was the hanging purple flowers during the outside scene at the Duke’s home. The scaffolding towers were used effectively and always enhanced the stage. 

At the end of the first act there is a physical confrontation between Shakleton’s Valentine and Robertson’s Duke, and this moment should be praised for its commitment to the altercation, as should the later physical confrontation of Shakleton and Wolfreys’ Proteus. The masterful physicality of the moments made it effective for the emotions conveyed, and while I’m sure it was handled professionally and safely it was done so well that it looked like it hurt. Congratulations!

Another actor who deserves plenty of praise for his debut performance is of course Rocky the Labradoodle, who portrayed Crab. Rocky was attentive and drew laughter from the audience, his performance was touching. He deservedly stole the scenes he was present for, while working well with Jo Rich. Every single member of cast, and every creative involved, should be proud of the performance and the show they put together. I could not spot a weak link among them.

Truly this was a fabulous performance, that while modern in its setting and context stuck to the intended story with an enhanced level of human understanding that only expanded the comedy and emotional effectiveness of the story.

REVIEW: Surfacing

Published on by Antonia Constantin2 Comments

Rating: 4 out of 5.

A blending of strong performances and cutting-edge technology to create a profoundly immersive experience

Thursday night at the Omnibus Theatre, I had the pleasure of watching  Surfacing, an incredible play written by Tom Powell and directed by Stephen Bailey of Asylum Arts, known for The Real and Imagined History of the Elephant Man. Developed in collaboration with neurodivergent communities and medical professionals, the play is a commentary on mental health, shared vulnerabilities and the power we all have to help one another heal.  The production featured Sarah Livingstone as Luc, a CBT therapist, and Jerome Yates as Owen the “service user”, her long-awaited client. 

The play is set in a mental health therapy centre and begins with Luc on an ‘admin day’. Owen, who has been on the waiting list for seven months, finally arrives, only to be asked to rate his distress numerically. Frustrated, he walks out, hoping for a chance to discuss things he couldn’t share with anyone else. This seemingly simple interaction sets off a powerful exploration of mental health, as Luc’s own struggles begin to mirror those of her clients. Her journey through self-doubt and anxiety felt to me like diving headfirst into a rabbit hole. 

My first impressions of Surfacing were genuinely positive. Right from the start, I was completely absorbed into Luc’s world. Sarah Livingstone’s performance was exceptional, truly capturing the nuanced struggles of a therapist dealing with her own inner demons. Jerome Yates was equally compelling, bringing Owen’s frustration and vulnerability to life with remarkable authenticity. The chemistry between the two characters was palpable, underscoring their shared experiences and highlighting the theme of common vulnerability in a profound way.  It helped with propping here and there the dialogue that at times felt overly written. 

One of the most striking elements of the play was the development of Luc’s character. Initially composed and rational, Luc’s facade begins to crack as her anxiety spirals. This unravelling is brilliantly visualized with dialogue projected onto the screen behind her—her spoken words on one side, and her spiralling thoughts on the other. Attention to detail is brilliant: her rational thoughts are displayed in neat, orderly fonts, while her erratic thoughts are generated in a less structured font, veering off in uneven lines. As her self-doubt intensifies, these thoughts manifest as auditory and visual hallucinations, clear manifestations of her mental state. The critical voices in her head become a character of their own, physically enacted on stage, adding a tangible dimension to her internal struggle.

The technological aspects of the production truly impressed me.  The use of motion sensor technology to create responsive light and sound effects heightened the sense of disassociation. Watching Luc’s hallucinations being physically enacted by her co-actor, alongside the projected dialogue, added depth to the storytelling and made the message of the play more accessible. The stage design, with its minimal props, kept the focus on the actors and their performances. Surfacing is not about sentimentality. It is a raw and honest portrayal of mental health. This play is a powerful call for kindness and a critique of current mental health treatment norms, encouraging us to look beyond the surface. If you ever have the chance to see this extraordinary play, don’t miss it. It’s a much-needed reminder of crucial it is to truly listen to one another to overcome mental health challenges.

In Conversation with: Cathrine Frost

Published on by ayoungishperspective1Leave a comment

An overnight smash-hit success in Norway with an ever-growing cult following and Finalist for the Hedda Award 2023 as Best Theatre Play, award-winning Det Andre Teatret brings their hilarious and existential theatre show Good Luck, Cathrine Frost! to the Festival Fringe 2024 to talk philosophy, birth, and public health. 

Cathrine artfully breaks down our view of what it means to be a mother and how we relate to the *whisper it in hushed tones* massive act of being born. 

How does it feel to take Good Luck, Cathrine Frost! to the UK at The Coronet after such a great start in Norway?

C: It was so exciting to come to The Coronet! I was excited and nervous, kind of the way I was when I began the process of making this show. After performing the shows extensively in Norway it felt good to have a new challenge. 

You’ll also be heading to the Edinburgh Festival Fringe in August for your Scottish debut! What can Fringe audiences expect from Cathrine this summer? 

C: They can expect to have fun, probably learn something new, and they might also want to give the person next to them a hug in the end.

The show gives a very personal and honest insight into birth and healthcare. Was the creation process of Good Luck, Cathrine Frost! different to past shows you’ve worked on, and how did this shape the final piece? 

C: This show came out of a very personal need of exploring the theme of the show. After I gave birth, I had so many questions, yet I struggled to find any answers. Also, I was driven by this need to explain to everyone how groundbreaking it was to become a mother. What our bodies are capable of is incredible, still we don’t talk about it and are seemingly uninterested in it. I wanted to make a show that addressed that. And share information that I believe all humans should know about. This real need for expression has made me connect with the audience in a new way.

What do you wish for your audiences to take away from the show and share with others? 

C: What happened in Norway is that people have started to share their own stories after they saw the show. They began to talk, ask more and wonder. That’s the best reward I could hope for.

If Socrates were to sit and watch Good Luck, Cathrine Frost! in the audience today, would you choose him to play himself – or someone else? 

C: I think I would like him to play himself. Then I could give him a piece of my mind.

REVIEW: David Suchet – Poirot and More

Published on by Maria Mădălina IfrimLeave a comment

Rating: 5 out of 5.

A show which inspires and entertains with its heartfelt and humorous storytelling

David Suchet – Poirot and More is a masterclass in storytelling, delivering an intimate and engaging experience that transcends the conventional interview format. This production is not merely an exploration of Suchet’s illustrious career but a deep dive into the life of the man behind Hercule Poirot, one of Agatha Christie’s most beloved characters. Remarkably, it’s noted that one-seventh of the global population has seen Suchet embody Poirot, a testament to his profound impact and the universal appeal of his portrayal.

The event is structured around a series of anecdotes from Suchet’s life, tracing his journey from childhood through to his first theatre role and eventually to the life-changing opportunity of playing Poirot. Throughout, Suchet exudes charisma and subtle humor, drawing the audience in with his captivating presence. Geoffrey Wansell, the interviewer, plays a pivotal role with his incisive and nuanced questions, which not only keep the conversation flowing but also bring out the best in Suchet’s storytelling.

A significant theme that emerges from the dialogue is the crucial influence of teachers, role models, luck, and family support in Suchet’s life. Suchet highlights these elements with a gentle yet profound sincerity, making the discussion not just about his career but also about the universal experiences that shape all our lives.

Despite being a two-person stage conversation, the show is remarkably engaging, filled with humor, nostalgia, and wisdom. It’s fascinating to hear Suchet reflect on his career choices and the characters he has portrayed. His stories are brought to life vividly, making the audience feel as if Suchet is speaking directly to each of them.

One of the most compelling aspects of the show is the insight it provides into Suchet’s approach to his roles, particularly his Shakespearean performances. He shares details of his meticulous preparation and the invaluable advice he has received over the years. Suchet’s discussion of the synergies developed between Shakespearean texts and his performance technique is particularly enlightening, offering a glimpse into the mind of a true professional passionate about his craft.

The highlight of the evening is undoubtedly Suchet’s monologues and explanations, which are delivered with the finesse and passion of a seasoned actor. Each story and piece of advice is a testament to his dedication and love for the art of acting.

David Suchet – Poirot and More is a must-watch for fans of Suchet, Poirot, and theatre in general. It is an enriching experience that not only celebrates the career of a remarkable actor but also inspires and entertains with its heartfelt and humorous storytelling.

REVIEW: The Tailor-Made Man

Published on by Mark LloydLeave a comment

Rating: 3 out of 5.

A tailor made show for the golden age of Hollywood enthusiasts

The Tailor-Made Man is a play written by Claudio Macor, and was originally shown in London back in 1999. This new production is directed by Robert McWhir and stars Hugo Pilcher, as the “Golden Age of Hollywood” movie star William ‘Billy’ Haines. It tells the true story of his life in Hollywood as a (unknown to the public at large) gay man, and the trials and tribulations of this. 

There are some very strong performances in this show. Shelley Rivers was a standout for me as Miss Marion Davies. Her character was super fun, if a bit cliched as a ditzy blonde, but she brought a great energy to every scene and was very enjoyable to watch. Hugo Pilcher was Billy Haines also gave a strong performance, but was perhaps let down by some script issues.

In my view, the weakest part of this whole show is the script itself. There were slightly bizarre moments where the show would come to a screeching halt while a character did a monologue about their life story, before jumping back into the actual story. Moments it felt like the writer wanted to just tell us about some cool history they had found out about, and did not care whether it helped to serve the story or the show. The show also suffered from a lack of clear focus. Was the focus meant to be Billy’s career? His relationship? His supposed innate talent for interior design? The Hollywood studio system as a whole? It was not clear to me what was meant to keep engaged and this story is crying out for a strong point of view. We end Act 1 on a scene with a brand new character Pola Negri played by Olivia Ruggiero. While she plays the part well, the part itself seems pointless. We get another monologue in which we learn about Pola Negri’s life and losses, she agrees to a scheme to a proposal from the studio to marry Billy, and then she never appears again. If this entire scene was cut, very little, if anything in the show would be negatively impacted.

I have more issues with the script itself, but I shall not labour the point too much, for fear of making it seem that this is not actually a good show. It is a perfectly good show with competent direction, good costuming, and strong performances. At no point was I wishing for the show to end prematurely, and it is a decent way to spend a few hours. But I would not expect to be blown away by a brilliant piece of storytelling. The content and real life historical story is very interesting, and I definitely left the show knowing a lot more about Billy Haines than I did before. So if this was the aim of the show, it definitely succeeded. 

In conclusion, a decent show that I would probably recommend to anyone with a particular interest in the golden age of Hollywood, and wants to learn a little bit more about a man with a fascinating life.

REVIEW: Dave Hill: A Caveman in a Spaceship

Published on by chelseajinaLeave a comment

Rating: 4 out of 5.

Musical comedy and storytelling collide in this raucously funny and unabashedly chaotic show by Dave Hill

Speeding into Soho Theatre’s Upstairs black box space on a bicycle, clad in a funky helmet and purple unitard/jumpsuit bedecked in various accoutrements, Dave Hill let the audience know exactly what they were in for from the very top of the show. The outrageous entrance, which somehow left no one injured, gave the initially stuffy audience a much-needed shock to get them a little out of their comfort zone and ready for some giggles (and perhaps, even, a guffaw.) 

The stage is cluttered in instruments, emblematic of a band that is here to make you laugh as much as it is here to play you some music. Once Dave Hill catches his breath, he commences his show: a kaleidoscope of storytelling interspersed with music, a touch of audience participation and cultural observations, and a list or two of some ideas that almost feel like something thought of on the bus ride over. The audience is truly cackling from the onset, absolutely thrilled by Hill’s wry humour, commitment to the bit, and snarky comments to his bandmates. 

Dave Hill’s tone is dry and self-effacing. He somehow presents as simultaneously an ego-driven attention-seeker, as well as a shy, self-conscious artist. He derides himself while showing off some incredibly impressive guitar riffs, before he turns around and tells his band for the twentieth time that show to ‘keep it down a little bit.’ These bits that could easily become tired remain genuinely witty throughout the show by way of Dave Hill’s excellent use of timing. The tone, moreover, is carefully cultivated. No matter to what end Hill seems to make fun of his band, himself, or even the audience, it never rings as cruel. Rather, it remains a funny anecdote that bonds the audience to the performer, including us in his little world that has been created on stage, and feels only accessible to us in this very moment. 

Aside from Hill’s excellent storytelling capabilities, it would be remiss not to highlight his incredible musical prowess. Hill does not rely on his comedy or storytelling to make up for any lack in musical talent. No matter the extent of your musical knowledge, it is clear that Dave Hill is no stranger to the guitar. The instrument appears almost as an extension of himself; his lines are buttoned by a trill, his stories coloured by a meandering tune, backed by his equally talented bassist and drummer, though such an assertion would certainly get a rise out of Dave Hill’s character in this production. 
If you are in the market for an hour of genuine fun, Dave Hill: Caveman in a Spaceship at Soho Theatre might be exactly what you are looking for.

REVIEW: Kontemporary Korea Double Bill

Published on by ayoungishperspective1Leave a comment

Rating: 4 out of 5.

‘A unique and mesmerising double bill of contemporary dance. ‘

Walking into the minimalist theatre space, I was unsure what to expect as I selected my seats ahead of the performance for the Kontemporary Korea Double Bill. 

First up was Cheol-in Jeong with Melancholy Dance Company’s Flight. This was an instantly captivating duet playing with the contrast between heaviness and weightlessness as each dancer grappled with discovering lightness and then being pulled down by gravity. 

Opening with a lone man on stage contorting into positions of airiness before showing signs of frustration as he was instantly drawn back down to Earth, often with a literal thud. The piece starts in silence, a motif which continues as a theme throughout the double bill. This draws the viewer in and holds a tension close to awkwardness whilst the audience wait expectantly for what comes next. 

As the second dancer takes his place in the piece, we see moments of manipulation and control as the dancers appear to fight against one another in pursuit of flight. Perhaps, this is a representation of the innate human need to step on one another to further our own desires? The piece continues to build in intensity with a slow addition of components; a dancer, music and the use of shadow which creates a feeling of eeriness. The routine ends in an admirable physical feat that captivated the audience.  

What I didn’t expect in a dance with such power, was the moments of humour and light relief weaved throughout. On multiple occasions the audience were left laughing and there was a release of tension in the room. This often followed a particularly heightened motif and allowed the audience a moment to catch their breath before the dance built once more. These much-needed moments of stillness accented the contrasting movement, allowing the viewer to contemplate on the dance’s theme.  

The second performance choreographed by Sung Im Her was a social commentary on increasing screen use and the effects of social media. Similar to the first act, the performance began with a single figure twisting their body on stage which continued to increase in energy. However, this piece had a different tone from the outset and created an unnerving feeling which remained throughout the entire performance. As the other dancers join, the motif of silence is there once more, captivating the attention of the viewer. This paired with the dim lighting and unusual movement creates a feeling of unease in the auditorium which invites a jarring contrast to the bright coloured lighting and high energy movement seen as the dance progresses.  

The dancers break the silence introducing strange sounds as they move about the stage increasing the stressful atmosphere before the music from Husk Husk begins. We see one of the dancers look at his phone to introduce the story of the dance. The foundation of the performance is repetitive movement, often jerky and erratic in nature. This is balanced with familiar TikTok dances, inviting the audience to reflect on their own experience with social media. The performance used bold, colourful lighting, bright clothing and high energy movement to add playfulness throughout but even in these moments of fun, a darker tone remained overall. The routine is split into chapters discussing different elements of social media from fun light-hearted dances to filter culture and striving for likes. 

Again, there were moments of stillness and humour peppered throughout the routine, giving the audience a moment to catch their breath and regain their thoughts. 

If you enjoy contemporary dance then this intriguing double bill is well worth a watch! 

REVIEWER: Evie Greenstreet

FEATURE: TravFest launch

Published on by John RichardsonLeave a comment

Traverse Theatre has announced its programme for TravFest24, it’s yearly festival of Fringe Theatre running in accordance with the Edinburgh Fringe, from Thursday 25th July to Sunday 25th August. This programme encompasses a mix of both some returning popular shows, and eight premieres with talented writers from across the world. The ten plays will be split evenly across the two venues inside the theatre as usual, the larger Traverse 1, and the smaller studio of Traverse 2.

The intentions set out for the programme is to have shows that explore love in all it’s forms, the will to survive an ever changing and threatening world, and our frailty in the face of strife. To reflect this the stories herald from both exciting new writers and established artists premiering shows, from both the UK and far abroad.

Keeping with Traverse Theatre’s ethos, each show is intimate, inventive and explorative, taking the audience around the world dealing with both the larger than life problems of war, to living room couples arguments. Each show demonstrates Traverse Theatre’s range and dedication to shining lights on new writers, ensuring there is something for everyone.

‘My English Persian Kitchen’ by Hannah Khalil (based on a story by Atoosa Sepehr) will feature live cooking accompanied by story telling by Isabella Nefar (Salome – National Theatre) as she tells the story of a woman fleeing Iran, losing her home but in the process finding herself once again, in the bonds of community, and food.

‘Same Team’ by Robbie Gordon and Jack Nurse and written with the Street Soccer Scotland’s women players, follows the players attempting to bring the Homeless world cup home to Scotland. An incredible joyful and uplifting story, it will explore the hardships of the players and how they overcome the challenges both collectively and individually. It had raring reviews last year, so this return is highly recommended

‘A History of Paper’ by Oliver Emanuel and Gareth Williams is a new piece of musical theatre, with a raw, touching, and painful love story following the life of a couple from their first meeting – via her complaint in his letterbox telling him to shut up, through their fruitful marriage until another piece of paper usurps their life.

‘Natalie Palamides: Weer’ by Natalie Palamides is another highly acclaimed play coming to TravFest24. A romantic dramedy centered around a couples argument on a 1990s new years eve. Her unique style of comedy was well reviewed both in execution and the extra dimension it brings to what initially sounds like a pedestrian setup.

‘Cyrano’ by Virginia Gay acts as a twist on the play Cyrano de Bergerac, retelling it with all genders flipped to present a jubilant queer celebration of love, theatre, and hoping for happy endings despite the odds. Virginia promises to take the original plays more negative outlook and instead use it to allow everyone to dream of a world of perfect lines, where we all have the love we deserve.

‘The Sound Inside’ by Adam Rapp makes its premiere as part of Travfest24. Already nominated for six Tony Awards, it tells a gripping story of a writing professor’s infatuation with a freshman student who breaks the rules in brilliant ways. It follows their relationship as a favour is asked by one, leading them into a tense plot spiralling towards a climatic ending.

‘Batshit’ by Leah Shelton and directed by Olivier award winning director Ursula Martinez, follows in it’s namesake in it’s chaotic exploration of female madness. A condition that throughout history has been used to medicalise, punish, abuse and exploit women. It does this by serving as a requiem for Leah’s grandmother Gwen who was locked away for seeking her own independence in Australia. Batshit tries to draw these sexist myths, ideas and techniques out of the shadows to kill them.

‘In Two Minds’ by Joanne Ryan takes the simple set up of a parent and their adult child in the same home, to draw together the different generations feelings of love, mental health and the human condition in it’s other forms.

‘A Knock on the Roof’ by Khawla Ibraheem is a very timely piece set in Gaza. Following Mariam who is so used to the threat of bombs on her, or her neighbours homes, she decides to practice evacuating, carrying as much as fits in her hands in the five minutes the smaller ‘warning’ bombs signal to her. Originally slated to premiere in Palestine, due to the recent escalation it instead is premiering in Edinburgh, promising to shed light on how people find hope, laughter, and reasons to keep going in a life where death is a constant.

Making its World Premiere on the Traverse 1 stage, the Traverse Theatre Company is proud to present So Young by Douglas Maxwell, in co-production with Raw Material and Citizens Theatre. A notable name on the Scottish stage with hits like Decky Does A Bronco and previous Traverse commission I Can Go Anywhere, this touching and funny new play explores the challenges of middle age, shifting friendships, and the impact of losing those close to us. So Young will be brought to life by direction from Traverse Artistic Director Gareth Nicholls.

The full programme and booking can be found at https://www.traverse.co.uk/whats-on/travfest24