March 2026 – Page 12 – A Young(ish) Perspective

IN CONVERSATION WITH: Jason Moore

Published on March 14, 2026March 14, 2026 by ayoungishperspective1Leave a comment

We sat down with director Jason Moore to chat about his latest production Steel Magnolias, playing at OSO Arts Centre, 14 – 18 April. Tickets here.

What did you most want to re-examine or challenge in Steel Magnolias as a director?

Because the play is set in America, in the deep south during the 1980s, I think there’s a danger that the six women could be reduced to caricatures, especially as they all have strong personalities, unique styles and American accents. I want to make sure each character appears as real as possible, without slipping into ‘cartoon’ versions of what we think southern women are. These characters are based on real people and it’s important to honour the writer’s intent behind this play. Robert Harling wrote Steel Magnolia as a tribute to his sister for reasons that I won’t divulge here (come see the play!), so it’s important to me to honour that.

How did you handle the shift from comedy to grief without sentimentalising either?

Comedy and tragedy often walk hand in hand, and this is very true of this play. Because all the characters are based on real people and a real-life family tragedy that he observed, the rhythm and timing of both the comedy and grief feel completely natural. The characters are all resilient women who simply don’t allow each other to wallow in grief. Their strength is the love they have for each other and their ability to hold each other up. As one character famously says, “Laughter through tears is my favourite emotion”. The message of the play is clear. Life goes on. Keep going.

In what ways did the 1989 film influence your thinking, even if you were resisting it?

I haven’t seen the film for a very long time, but I do remember it and the wonderful performances with great affection. Robert Harling also wrote the screenplay which drew heavily from his play. However, the film is very different and includes a multitude of locations and other characters, mainly the men that are spoken about in the play. The play has one setting and a cast of six women. I suppose if the film was to influence me in any way it would be as a great reference for American life in the South in the 1980s.

How did you approach the salon as a dramatic rather than purely social space?

Robert Harling set the play in Truvy’s hair salon which is located at the side of her house, giving it a very personal feel. The location is perfect for this story as it gives the characters a sense of safety and comfort that allows them to open up to each other. It’s the one place where they can truly ‘let their hair down’ and be seen and heard. They used to say the hairdressers is as sacred as the confessional and that’s very true here. All their secrets, hopes and wishes are laid bare in this ‘sacred’ space, no men allowed.

What feels most urgent or resonant about this play for audiences now?

At its core, the play is about friendship and human connection. Life throws us curveballs all the time, good and bad. While it’s always possible to weather the storms by ourselves, it’s so much easier when you have friends to support you.

REVIEW: The Trials at the Tron Theatre

Published on March 14, 2026March 15, 2026 by nmcgarrityLeave a comment

“An intriguing commentary on revenge and justice”

From the outset, the premise of The Trials, written by Dawn King and directed by Joanna Bowman, was fascinating. Twelve children picked for jury duty forced to determine the fates of the adults responsible: it was a bold and brilliant concept. However, the writing didn’t quite carry through in certain areas and left the show weaker than it could have been.

From the outset, the play was gripping. The audience entered the space to be greeted by the title of the play emblazoned across the wall in a stark black font, refusing to be forgotten. A single shaft of warm light shone through in reminder of the terrible state of this world deeper into the climate crisis than the real one… though not by much. One of the strongest aspects of the script was how alarmingly similar it came to the audience’s own. With every new piece of information that unfolded about the lives of the characters, it forced the audience to reflect on their own complicity. This was very compelling, and worked effectively throughout.

The acting, from the youngest members of the cast to the oldest, was great. Each adult actor — Brian Ferguson, Maryam Hamidi, and Pauline Goldsmith — gave a spell-binding, moving performance. As an audience member, it was easy to fall into the role of jury, trying to decide on a verdict based on what was learned.

The young actors were a highlight of the show! Each of the jury had wonderful performances, each actor giving their all in a show that was highly emotional. There were no two characters that felt alike; a commendable aspect of the writing, the directing, and the actors’ own abilities. Of particular strength were the actors involved in the memorable moments of make-believe, as some characters are too young to remember snow or dairy ice-cream. Here, the directing and movement shone, capturing the audience’s hearts with these beautiful images created.

Indeed, the show as a whole was strong in every sense — except, at some times, the writing. The pacing of the script felt jarring. Trial one and trial two dragged in moments, while trial three, arguably the most fascinating trial, was over far too quickly. Some characters felt two-dimensional or shallow. In the same vein, the moment of tension between jurors Sarah and Ren feels random and unresolved. Other characters’ stories felt similarly unresolved, while some arguments began to feel clichéd.

This shallowness falls to the pacing and structure. With more time spent on the third trial rather than the first two, the characters could have been developed in more complex ways. King manages this so superbly with the character of Noah and Ren: it would have been great to see more of this!

However, the weaknesses in the play’s structure should not detract from the overall message. ‘The Trials’ is a haunting story of guilt, responsibility, and the betrayal felt by twelve young people towards those meant to protect them. King’s play is a necessary one, and with a few tweaks would be even more impactful. The actors’ performances were gritty and wonderfully compelling. The young actors especially gave fantastic performances in this educational and entertaining show.

This show’s run concludes on Saturday 14th March at the Tron Theatre in Glasgow. The ticket link can be found here: https://www.tron.co.uk/shows/the-trials/.

Author: Noah McGarrity

REVIEW: One Day the Musical

Published on March 14, 2026March 15, 2026 by nebularis85Leave a comment

Profound, heartwarming, captivating and beautifully nostalgic. “One day the musical” is simply stunning in every way.

Exciting times are happening at The Royal Lyceum theatre this week in Edinburgh as they team up with highly acclaimed independent theatre and film production company Melting Pot as they bring the world premiere of “One day the musical” to the stage. Directed by Max Webster with music and lyrics designed by Abner and Amanda Rameriz the theatrical version is written by one of Edinburgh’s award-winning playwrights and former artistic director for the Royal Lyceum, David Greig. “One day the musical” truly encapsulates what it sets out to do by finding the poetry in everyday life and whole heartedly encompassing the power and warmth of nostalgia.

Based on the novel by David Nicholls we follow the lives of Dexter Mayhew (Jamie Muscato) and Emma Morley (Sharon Rose) covering a single day over two decades from their first chance meeting at their mutual graduation party at the University of Edinburgh. Emma, a quirky outspoken and clever working-class northern girl from Leeds, is intrigued by the boyish charms of well-spoken Cotswold grown Dexter and they form an unexpected lifelong bond with many trials and tribulations in their midst.

Emma (Rose) and Dexter (Muscato) each make one another better as they do all they can to remain friends even when stronger feelings reside, but they just cannot find the courage to trust them.

As life rally’s on from year to year, we see timing as a frequent barrier for them navigating their own struggles as they try to find answers and a meaningful existence post-graduation. Their friendship is at the heart of this romantic comedy and is a key theme which the production strives successfully to embed throughout in its execution and delivery within its writing, musical lyrics and talented cast.

Stunningly crafted choreography created by Carrie- Anne Ingrouille depicts themes of pain, loss and happiness effectively throughout this poignant story. Greig crafts sincere writing and true to life moments which are beautiful to watch and highly entertaining. Comical relief is well timed when these moments are at their most poignant and needed.

The production from the start is highly immersive with its staging set in the round. Rae Smith set design and costume design complement each other in coziness and simplicity achieving what was intended by allowing the audience to feel a part of it all. The setting allows the ensemble and the audience to feel as one. The entire experience including the interval has something immersive for everyone to enjoy. The energy of community and togetherness remains with the cleverly crafted directorial design and production choices of Max Webster and his production team.

Jamie Muscato (Dexter) and Sharon Rose (Emma) equally in character and in vocal strength lead us through their stories with each pivotal life choice we experience the emotions whole heartedly. Muscato as Dexter presents a devil may care cheeky chappy persona and it is beautifully endearing even when things take a dark turn for his character. Vocally Muscato is flawless presenting in its rawest form what it is to have everything externally and yet still feel so lost. He is complimented and balanced wonderfully by the incredible vocal range of leading lady Sharon Rose as Emma who finds truth and heartfelt warmth in every solo she delivers. Her delivery of “Ems’ One Day” is nothing short of show stopping and enthralling to behold.

Performed with passion and vulnerability their stories mirror each other at times but also contrast in pivotal moment’s where life changes abruptly and they both still need each other’s friendship even when it hurts. Muscato and Rose bring nothing short of an endearing innocence to their creative approaches and to their interactions which is highly enjoyable to watch.

All set, staging and props are reliant on the company’s ability to work as one unit entirely echoing the theme of togetherness and the bonds of long-lasting friendships. This wholesome piece of musical theatre is more of a love letter delivered as a play with songs where the cast, crew and audience are all part of the one strong message of togetherness and the importance of community.

Using soft singular lights dropping down from the ceiling over the audience and the stage, lighting designer Bruno Poet breaths warmth onto the stage like one’s own sitting room representing the changing eras from the 80s to the noughties. The lights are crafted beautifully as they become almost an additional character in the performance with pulsating moments representing change and tension throughout the show.

The brightness of the lights intensifies and pulse through the rhythm and beats of the fantastically produced musical score directed by Nigel Lilley. Though small the band’s powerful delivery is on point and delivers some well-designed toe tapping numbers one cannot resist tapping to with 90’s influenced nostalgia captured within its upbeat folk and pop cultured genres.

“One day the musical” really does deliver something for everyone. You will laugh, cry and laugh out loud the whole way through and then want to do it all over again. Do not miss out on seeing this absolute must-see of a musical at The Royal Lyceum Theatre currently running from 27^th February to 19^th April 2026 in Edinburgh.

Author: Judith Neeson

REVIEW: Guildhall Symphony Orchestra: The Rite of Spring

Published on March 14, 2026March 13, 2026 by fbalchinLeave a comment

“A spectacular student-led symphony that delivers textbook excellence”

This production showcases the absolute best of Guildhall School of Music and Drama students. Handily next door to the school itself, the space of the Barbican Hall affords the young performers a sublime platform. The hall is a large airy modern stage visible from every seat in the house, complimented by geometric patterns in its vertical wooden panels adorning the back walls of the stage adding visual interest but never distraction. The huge orchestra was laid out in classical chamber style, replete with a cor anglais, timpani drums and a French horn section side-eyeing the brass section, as is tradition.

The show is opened up by a brief speech from composer Julian Anderson, himself a tutor at the school for nineteen years. He is clearly proud to work with and for these students. Unbeknownst to him, he was sat behind me in the audience afterward and I got to hear him occasionally mutter quiet compliments to the students throughout- a sweet hidden gesture in an otherwise intense program. The opening salvo is Anderson’s 2016 composition Incantesimi, apparently inspired by the quietness of the Quaker community; more sound and fewer notes. Five aural themes are woven throughout. The overall sound of the piece was astonishing. simultaneously anxiety-inducing and awesome. Strangely, it is described as and intended to be calming and “zen-like”. It rather sounded like the soundscape to a Hitchcock film. This is absolutely a compliment and a testament to the variety of interpretation. As shrieking strings merged with woodwind, the effect was of one of constant quiet dread building into smaller crescendos. It felt like an experimental score to a contemporary horror film, and became a clever counterpart to the two classical masterpieces that followed.

Prokofiev’s Romeo and Juliet, a ballet so famous you’ve probably heard the seminal “Montagues and Capulets” section over a million adverts, opening title sequences and the backdrop to many a TV drama. A selection from Suites 1 and 2 showcase the terrific skills of the string section here, alongside the percussion section, complimented by two harpists. A standout segment was the “Death of Tybalt” sequence. A piece so zealous it felt like a circle pit would open up. There is something so special about watching musicians create atmosphere in front of your very eyes in real time; it really did remind me of a metal concert.

The second act was devoted to the entirety of Stravinsky’s The Rite of Spring. A bassoon solo based on Lithuanian folk song opens up what is one of the greatest compositions of all time. In two parts- The Augurs of Spring and The Sacrifice, the whole piece feels galvanizing and magnetic. It is a melting pot of tonal shifts, rhythmically switching drumbeats and a wild melody. It was a visceral experience to watch the students emit such powerful sounds from their instruments in such a controlled way: each instrument a conduit for their enthusiasm and an extension of their individuality.

The Guildhall Symphony Orchestra has put together a fine programme showcasing exceptional talent from its students, enabled by Kerem Hasan’s impeccable conducting. An invocation to the God of Spring may just be the perfect March ticket, and a hefty reminder that classical ballet compositions are certainly not a dying art, as a certain actor recently quipped. On the contrary, the Guildhall Symphony Orchestra, itself full of literal youth and vigour revitalises the intent behind each note and the skill required to reverberate it around the auditorium, capturing sonic moments that cannot be replicated outside of a shared live experience.

This performance was for one night only, across multiple events throughout the Guildhall Symphony Orchestra’s Spring Programme.

REVIEW: Clean Slate at The Pleasance

Published on March 13, 2026March 13, 2026 by rosagatleyLeave a comment

Whip-smart comedy about weaponised incompetence is an innovative take on a one-woman play.

It’s a tale as old as time. New relationship: could this be The One? The honeymoon phase. Moving in together. Buying your own furniture, cooking your meals together…except the fresh IKEA sets are starting to go unbuilt. Dishes in the sink. Countless “I’ll do it later”s. ‘Clean Slate’ depicts with unflinching detail a relationship burdened with the 21st century man’s greatest vice: weaponised incompetence. And you’re playing the useless boyfriend in question.

‘Clean Slate’, the brainchild of Louisa Marshall and Amber Charlie Conroy took the Edinburgh Fringe Festival by storm this August, and now it’s back for a fresh run at the Pleasance Theatre in London. This run is somehow bigger, smarter, and even more dynamic. Everything about the production rises to the occasion of this new venue. It’s slick, from designer Ali Hagan’s shiny yellow kitchen island to Marshall and Conroy’s effervescent script. At the beating heart of it all is Marshall’s prowess as a performer — instantly likeable, with boundless, frenetic energy and a comedic ease that is totally charming. The space is hers, and she’s comfortable in it; after all, she’s invited you into her flat, the least you can do is help her clean it. It’s quite a feat to improvise off a new audience each night, but her generosity as a performer has even the most reticent spectators getting involved, often to hilarious effect. It’s dynamic. Audience members are invited to flirt with her, dance with her, load a dishwasher and play a couples therapist. A lot of the humour comes from the audiences’ lack of knowledge, cleverly engineered to make us complicit in all the boyfriends’ shortcomings whilst we simultaneously roll our eyes. It’s unlike any audience participation I’ve seen before.

For as funny as it is, ‘Clean Slate’ also seethes. Marshall harnesses a glowing rage that simmers just beneath the surface for the entirety of the play, an impressive feat of self restraint. By the end, we are exhausted as she is, having witnessed the death of a relationship by a thousand cuts. We’ve been hit over the head with relationship issue plays, and indeed one-woman fringe shows for years now, but none tackle such a familiar problem in such an intelligent and thought-provoking way. As her final act, Marshall invites the audience to don rubber gloves and detergent and clean the set, then promptly leaves us to it. Her absence gapes, and you can’t help but realise you’re setting this up for this all to happen again — another boyfriend, another relationship, another unbuilt IKEA flatpack.

‘Clean Slate’ runs from the 11th to the 14th of March at the Pleasance Theatre.

REVIEW: The Beekeeper in Aleppo

Published on March 13, 2026March 19, 2026 by Ke MengLeave a comment

A powerful story of exile

Written by Cristy Lefteri, The Beekeeper of Aleppo explores diasporic trauma during the Syrian civil war. It follows Nuri, a beekeeper from Aleppo (Adam Sina), and his wife Afra (Farah Saffari), an artist losing her eyesight after their son is killed in a bombing. Forced to flee to Syria, the couple took their journey across Turkey and Greece, searching asylum in the UK, which means they need to directly face the Border Control, the Home Office and the NHS.

Although I have not read the original novel, this story does remind me of The Kite Runners as both profoundly undergo displacement and forced immigration during war, and how such upheaval can reshape and transform humanity. While I do not doubt the depth of Lefteri’s writing, this theatrical adaptation, scripted by Nessrin Alrefaai and Matthew Spangler, directed by Anthony Almeida and Miranda Cromwell, and produced by Nottingham Playhouse, leaves more perplexity than clarity.

Ruby’ Pugh stage design presents two sculpted mounds with two door-way entrance and a window, sketched by a skeletal framework covered by a projection scrim. While the projection helps to situate the place of action by projecting “Home Office,” “NHS”, “Athens” “Aleppo” with doodle-style drawings, they do very little to streamline the narrative, nor go hand-in-hand with director’s blocking for the ensemble. The design also hinders the scene transitions, leaving the storytelling much chopped up. For instance, one of the story’s central plot-twist, the truth behind the existence of Mohammed(Dona Atallah), a refugee boy the couple meet during their exile journey, is signifcantly flattened due to insufficient foreshadowing in directorial decisions. Likewise, the dangerous “boat crossing”, which should be climatic and visceral, concludes the first half as surprisingly lukewarm and underwhelming.

This also weakens the story’s core metaphor of the bee and the beekeeper. The audience can certainly grasp the parallel – bees as communal and connecting, and the beekeeper as caring and guiding. However, the dramaturgical and directorial choices simply reduce it to a binary contrast of “happy past in Aleppo” vs. “hardship of forced immigration in the UK”. Even within that simplified duality, certain moments, such as Nuri describing his duties as a beekeeper to the Home Office officer, lose their emotional weight and struggle to reach the depth. Similarly, the officer’s questions feel illogical and fragmented. While this may reflect real-life UK bureau system, these quickly shifted questions lack a well-structured narrative end for Naru and Afra’s story.

The show ends with Nuri’s reunion with his cousin, Mustafa, brilliantly performed by Joseph Long, who provides most of the humour of the night, balancing Sina’s hyper-charged portrayal of Nuri. As the projection scrim falls down, revealing an English dusk on the backdrop. While I won’t doubt the book hinted trait of hope, this visual resolution hardly leaves any lingering resonance.

REVIEW: Yentl at Marylebone Theatre

Published on March 13, 2026March 13, 2026 by sophieelizabethmorrisonLeave a comment

A captivating anecdote for exploring self and queer identity through religion and breaking gender norms.

Yentl is a compelling ode to those who wish to defy odds whilst maintaining a sense of belief and exploring the boundaries of their religion. Traditionally, Jewish girls were highly restricted by formal religion (Torah/Talmud) to study for centuries, primarily from the Talmudic era until the early 20th century. Yentl craves to defy her gender expectations as a woman just to be married off and serve a man for the rest of her life. Now, she must navigate grief whilst approaching the alien realm of masculinity to achieve further study and learn about the world around her. She possesses a unique perspective on knowledge as a cisgender woman and introduces this to a man she meets on her travels, Avigdor. The play is reminiscent of Shakespeare’s Twelfth Night, without a set of twins, and provides more specific references and themes surrounding the Jewish faith.

The set depicted a rural minimalistic grassland using woodchips and a couple of scattered large rocks. We were also met with a grey separation curtain which revealed a large wooden set piece to act as a multi-rolling backdrop. A particular detail that really stood out was the use of carvings in the backdrop of small squares or windows that lit up. Metaphorically it created this idea of “windows of opportunity” for not just Yentl but the story to unfold, some out of reach with a ladder still makes the highest box unobtainable.

The play was linguistically plentiful, using traditional Yiddish and providing a projection of English subtitles for those who did not speak the language. This provided a space to remain true to the language, since movement alone helped convey emotions of the dialogue that audience members could cast their attention away from subtitles and still be enveloped with emotion and storytelling.

Yentl explores themes of sexuality, gender, queer identity and religion, with a poignant commentary for those who identify as non-binary. Yentl expresses feelings of being both genders but neither and that she may have a woman’s body but she feels so much more than how she appears. Whilst this remains a historical commentary on a religion that previously restricted gender roles, contemporary audiences may relate or find allyship within the story within its queerness. It also acts as a signpost for those who aren’t as informed on the topic, providing an opportunity for them to understand deeper what it feels like to identify as queer or nonbinary. Religious themes were also prevalent with the use of the apple as knowledge for a character in reference to genesis, and a goat headpiece wielded by The Figure. The symbolism of a goat may generally symbolize sin, rebellion, stubbornness, and separation from God which mirrors themes in the story.

The wonderful Amy Hack brilliantly portrayed the titular character of Yentl, who skillfully developed her from naive to gaining a strong maturity and achieving a fulfilling sense of self. Evelyn Krape as ‘The figure’ conveyed the character with a cheeky warmth, utilising both masculine and feminine traits within the performance. Genevieve Kingsford gave a gorgeously elevated performance as ‘Hodes’, portraying both her young feminine traits and harrowing desperation to be a mother. Last, but by no means least, Ashley Margolis as Avigdor. Margolis gave such depth and complexity within the character, portraying the sexually-driven and romantic sides to the scholar.

The emotional gravity of this play was carried with such care by these four individuals, audience members often forgot there are only four people performing. A huge congratulations to them and it was a privilege to get to see their opening night performance.

For tickets and listing, please go https://tickets.marylebonetheatre.com/shop/tickets/series/Yentl

REVIEW: Woman In Mind

Published on March 13, 2026March 12, 2026 by Savinay SoodLeave a comment

“A darkly comic exploration of mental illness”

Alan Ayckbourn’s 1985 darkly comic exploration of mental illness, family life and suburban frustrations still grips audiences forty years on. The show is currently on at the Theatre Royal in Glasgow until the 14th of March. Whilst the material isn’t always the most nuanced or sensitively handled in the script, director Michael Longhurst has put together an absolutely phenomenal show. Known for his recent work on Next to Normal, themes of family life are clearly central to his directorial work. The cast and technical aspects shine, and the show is funny and unsettling all at the same time.

The play opens with Susan (Sheridan Smith) being called upon by local doctor Bill Windsor (Romesh Ranganathan), having received a blow to the head. Susan’s perceptions of reality are warped, and she imagines a fictive life in place of her ordinary and unhappy one. In her fantasies she’s wealthy with a dashing husband (Sule Rimi), loving brother (Chris Jenks) and devoted daughter (Safia Oakley-Green). In her real life, she has very little interest in her husband (Tim McMullan), her sister in law (Louise Brealey) is dour and her son (Taylor Uttley) has not been home in 2 years, having joined a sect that didn’t allow its members to contact its families. The script is incredibly witty, even if it is not always terribly sensitive or nuanced in its depiction of mental illness. However, it is fundamentally an empathetic play.

There was not a weak link in the entire cast, each of the performers were able to balance humour and surreal admirably. Smith’s performance as Susan is truly wonderful. The role is demanding, Susan never leaves the stage. She is able to capture everything the role necessitates, she is funny, acerbic, downtrodden and active all at the same time. She was nothing short of magnetic in the role. Ranganathan’s performance as the hapless Bill Windsor was unexpectedly earnest but unsurprisingly funny from the comedian. Safia Oakley-Green and Sule Rumi were able to balance wholesome and unnerving as Susan’s fictive family.

Particular credit has to go to the technical design elements of the show. Lee Curran’s lighting design is nothing short of magnificent. The use of specific and targeted blackouts gripped the entire theatre, creating a disorienting experience in the best possible way. When paired with sound designer Paul Arditti‘s use of high pitched ringing, and Sputra Gilmour’s set of the faded, overgrown garden, the design helped ensure the play’s impact. Andrzej Goulding’s video design helped communicate the surreality of the play effectively.

Woman in Mind is surreal, heartbreaking and funny. It is well worth your time. Tickets are available here.

REVIEW: The Importance of Being Earnest

Published on March 12, 2026March 12, 2026 by Will OsbonLeave a comment

“A beautiful and well-designed production that could do with a boost in energy and humour.”

When a classic play (or any text being adapted for that matter) has action revolving around mistaken or falsified identity, it begs a queer reading. ThinkComedy of Errors or Accidental Death of an Anarchist. Techniques of gender rearrangement are popular devices in the modern theatre. And EUTC’s The Importance of Being Earnest adds to that conversation.

Directed by El Mair, this is a beautiful production. Intricate fly systems elevate curtains that imitate windows and walls. These systems were complex but executed smoothly, revealing a delightful garden set once used. Bedlam Theatre offers a versatile space, so to have it utilised to such great effect is superb to see. The Set Team, led by Ava Tumblety and Tanya Molleson, should be very proud of their work.

To accompany these transitions, a live band (led by Musical Director Jasper Fuller) plays string renditions of Say My Name and The Mystery of Love (from Call Me By Your Name, a piece of lo-fi queer cinema that may have offered some inspiration for this production). These musical accompaniments were well-arranged and well-executed, adding a smooth, lo-fi vibe to the bookending of each act.

To top it off, Costume Design by Nhi Tran is absolutely exquisite. The pieces are time specific yet individualised enough to stand out and accompany the queered direction, including a repeated use of purple and yellow to indicate opposite factions that ultimately mix together in the end. This attention to detail through colour shows a deep understanding of the text. This was a true highlight of the show.

Lighting Design by Aaron Rashid and Sound Design by Atalanta Lewis added a serviceable amount of atmosphere to the piece, but occasionally struggled to add moments with the same impact as these other elements. However, altogether, the design elements make for a delightfully peaceful atmosphere, which helped pace this nearly three-hour production. Still, it is hard to say whether or not this peaceful atmosphere is entirely effective for the text at hand. This query was particularly evident in the direction and performances.

Mair’s direction seems acutely aware of the potential for comedy within Wilde’s text (after all, one-liners and chaos are present throughout). This is evident in the gender swapped core cast, which makes room for humorous exaggerations of particular types within the social conscious. And while laughter certainly occurred due to this, it never reached the heights which Wilde’s text indicates. Characters never truly let loose, as so many scenes indicate they should, and they lack the emphasis necessary to carry such a speech-ridden text. They seem to be calmed-down versions of what we expect from this text. Perhaps this was intended to accompany the more lo-fi aesthetics of the production, but this doesn’t entirely compliment the dialogue and action. Instead, performances seem more focused on creating accurate RP accents and social gestures, while never truly exaggerating them to a point of comic effect. What results are characters that aren’t quite believable, but aren’t quite unbelievable so to speak. There are still standouts in the cast. Namely, Tai Remus Elliot as Cecily Cardew, who was capable of exaggerating and restraining their performance to great comedic effect at times.

The core tenant of a text like this is unpredictability; Wilde’s plot revolves around a complex web of lies that mount overtime, yet it somehow works out in the end. Some more focus in the future on generating humorously unpredictable performances will push this production much further.

In the end, this is a beautiful, engaging and occasionally funny production of a classic play, with room to improve.

The Importance of Being Earnest runs until 14th March. Tickets are available here.

REVIEW: A Giant On The Bridge

Published on March 12, 2026March 12, 2026 by Ross BevanLeave a comment

“Deeply emotional and slightly mad, this is a performance which stands out from the rest“

Fascinating, mad and impactful are just a few of the words one could use to describe A Giant On The Bridge. This concert-like experience mixed with spoken-word theatre blends the story of a father on his way home from prison to meet his family with that of a more traditional story of a giant and a prince. Accompanied by songs written through the “Distant Voices: Coming Home” project, this performance and its message stood out.

Based on real life events, this performance was devised from the “Distant Voices: Coming Home” project, a four-year research collaboration with the intent of shining a light on the experience of those affected by the criminal justice system. These workshops were used to give a voice to people who had previously been in prison and those still in the system, or to quote from the performance, “those who have crossed the bridge home and those yet to do so”. The use of music to tell their stories and give insight into their lived experiences feels very personal and comes from an intimate place.

The music itself is varied. Ranging from pensive and melodic in songs like “Autopilot” to more classic rock vibes in “Fuck It Button”, every song has a story to tell and they all sounded great. Despite different genres in the mix, there was a feeling of connection between all the songs. The emotional weight of these songs is felt as it was stated at the start of the show that some of the song-writing sessions became quite dark at times, understandably so. Upon speaking to co-creator and musical director Jo Mango, she stated that there were over 150 songs written throughout the workshops. Although all of them could not make it into the performance, the selection within the show is effective in helping us understand more about not only the lives of people who have left or are still in the justice system but the people that care about them.

When asked about why this narrative was blended with that of a more traditional fairytale, Mango mentioned that a common theme across the workshops with many inmates was that of heartlessness, specifically that this was how they felt towards the justice system. This lent itself well to the story of giant who had lost its heart and also created a parallel between this character and how many people saw them; as monsters. The story in question is based on the fairytale “The Giant Who Had No Heart In His Body”, though is altered somewhat from the original text. This narrative weaves through the prison homecoming by means of former inmate D’s daughter Faye, telling the story to her dad through letters. These letters are never sent by her Aunt June however as they act as a fantasised version of what has been going on in their lives while D has been in prison. While details are never explicitly mentioned, we are told that June was forced to leave her partner due to domestic abuse and she had to flea in order to shield Faye. The blend of these stories surprisingly works quite well and both narratives remain compelling. Special mention has to go to Kim Grant for the narration of the Giant’s story. Her telling of this tale was incredibly captivating which brought the whole performance up a level. All the musicians in this show were truly fantastic, everyone involved in each aspect of telling the story, through words, song and instrumental.

Overall, this was a deeply impactful performance. It did an exceptional job of highlighting the journey people go through, both in prison and after, as well as showcasing why we should focus more on reformation than punishment within the system. Plus, aside from being emotional and interesting, the music just sounded brilliant which is always a bonus. If anything, all one could really ask for was more.

The next stop on this tour will be The Studio Theatre in Edinburgh from Friday 13th-Saturday 14th March and closes at LAS Cinema and Theatre, Portree in Skye on Saturday 21st March.