Alli Caine

REVIEW: Reasons To Be Pretty

Published on April 6, 2026April 5, 2026 by Alli CaineLeave a comment

Reasons to be Pretty brings out the ugly side in relationships and highlights our own struggle with self-esteem and half-truths

Emerging theatre company Locked-in-Thought presented Neil LaBute’s Tony-nominated play, Reasons To Be Pretty, which ran from the 1st-4th of April at the Assembly Roxy studio. The play focuses on the messy insides of relationships for four working class friends after an off handed comment about a partner’s ‘regular’ looking face in comparison with a ‘pretty’ coworker reveals true character and deep misunderstanding in the group, and challenges the audience to consider our own relationships with honesty and beauty.

The crew and cast did a good job in executing this emotionally layered play. For a script that requires both moments of heated rage and raw vulnerability, it delivered on hitting that reaching that balance.

There was some exceptional acting between James Cumming (Greg) and Chloé Baines (Steph),where the main tension revolved. Cumming’s portrayal is perfectly infuriating: seemingly intelligent yet emotionally immature, awkward yet decisive. Baines’s Steph, was raw and had great comedic timing continuously through the complex and emotional moments. Although it seemed to take them a scene to settle in a bit, once settled, the ebb and flow of their dynamic and energy felt wrong to watch at times it was built so convincingly. A great duo.

Christian Grant playing Kent was as deceptively charming as his character demanded. Grants slow reveal of the laddie, selfish and blindingly stubborn nature of his character was perfectly convincing and savvy but fell slightly short in conviction on reaching his climactic anger.

Ellie Marie Duncan playing Carly, grounded the group with her straight forward, calm yet practical approach which was needed in the emotional turbulence. Overall, the characters created were all, at times, painfully realistic in the best way possible.

The set was perfectly fine being minimal, with good choices on the couch and table/chairs/bookshelf/props set up to base the different places. Potentially, future showings could include a door or a different angle to room orientations to add to the space but it didn’t hinder the performance as seen. The lighting and sound were simple, balanced and well timed during transitions but further consideration could be given to more background atmosphere or dynamic lighting to further define and enhance the spaces.

Reasons to be Pretty is the kind of play that is timeless as it digs into many of our most uncomfortable fears about body image, trust and communication. This new company has tackled a complex piece and has done it justice as its effect was emotional and vastly relatable on multiple levels. I hope the company runs it again in the future as it should be seen and seen again.

REVIEW: The Wood Paths

Published on February 13, 2026February 12, 2026 by Alli CaineLeave a comment

Strangely compelling and whimsical, carving out far deeper concepts from the wood working process

The highly anticipated Manipulate festival, which ran from the 4th to the 10th of February, is known for its awesome array of boundary-pushing works. The evenings of the 9th and 10th saw the performance of ‘Wood Paths’ by director Andrejs Jarovojs at the Traverse Theatre.
Wood Paths is definitely not a traditional theatre experience. This becomes more
understandable with a little research into Jarovojs’s directorial past, where his works are
noted for their conceptual experimentation and innovative contemporary forms and
expression. In this sense, Wood Paths delivers. It strays far more into the territory of
performance art, and with this in mind, this intriguing performance may be far better
understood and enjoyed. If you are delighted with having a more unusual theatre
experience, then this may be one for you.
The stage is minimalistic, open. Real, big, wooden tree trunks appear. Pallets, tools and
axes waiting to be used. The stage is a woodshop or an imagined forested landscape,
potentially, more aptly, a place of possibilities. Everything suggests that things are to be
done or made, or perhaps this is just our human instinct, and perhaps that is exactly the
point. The show is non-verbal, and also had no sound effects or music, which actually
worked incredibly well, as all sounds were made by the actors and tools. The performers
were Rūdolfs Gediņš, Edgars Samītis, and they worked together chopping, fashioning and creating with the available material. Their performance was impressive mainly because of their physicality, since they were strenuously working or moving for most of the hour and twenty minutes. They worked well together, very in-tuned with the others practice, making rhythm and symmetry a central focus of the experience. A humorous and suspenseful addition to the side of the stage was a large printer that acted as the only form of delayed dialogue between the men. This, too, is minimal and poetic in nature.

Jarovojs seemed to dig into the notion of endurance, both obviously and subtly, and at
the expense of both performers and the audience. This performance is concerned with
process and less so with result, unless the result is just a word for a temporary pause. There is genius in the creation of a piece that can pull on so many threads without being explicitour associations with masculinity, evolution of human creativity and technology, environmentalism, skill vs time. The way the arc of the show was kept fluid and unexpected, starting with a well know concept and ending somewhere far more whimsical yet socially relevant, was delightful and quite touching. It is definitely a piece to be experienced rather than explained. I think its strength lies in how it leaves you questioning and weather that is good or bad can be up to you. Give it a watch!

REVIEW: Hercules the Bear

Published on October 2, 2025 by Alli CaineLeave a comment

Fun and lighthearted, Hercules the Bear is a unique production of a unbelievable true story. Take the kids!

The tale of a couple raising a grizzly bear in their home who would go on to become somewhat of a contemporary folk hero might sound quite far fetched, but it was the incredible true reality of Andy and Maggie Robin and their grizzly, Hercules, in the 80’s in Sheriffmuir, Scotland. Tenderhooks introduces the story of Hercules the Bear to the stage for the first time combining theatre, physical theatre and puppetry in a lighthearted production of the slightly unorthodox life that comes with raising and living with a 10-foot bear. From the couple’s first day with the new mischievous bear cub to his rise in fame in Scotland and abroad to his worrying disappearance (don’t worry, he is found again!), we get to experience a little of the great bear that was Hercules.

Lead Artist Fergus Dunnet and the whole production crew have created a delightful design and atmosphere to tell this wholesome story. The stage is a dynamic and multifunctional playground that shifts from a comfortable house to wrestling area to the wilds of Scotland with great fluidity and strategic simplicity in a compact square of space. The lighting design being a part of the stage with carnivalesque hanging bulbs and a lighting backboard allowed for a multitude of spaces to come to life. The shifting sound design/composition with its cheerful theme tune and slight Celtic lilt added to the folksy feeling. The unfurling of the inflatable wrestling mat was one of the highlights. Overall, the effectiveness of all the elements was of a high standard and therefore fantastic to witness.

Actors Diane Thorton and Ben Winger who make for an engaging Andy and Maggie, lean into the cartoonish and expressive silly side of physical theatre, energetically interacting with the audience in bright synthetic jumpsuits. Their comedic timing, choreography and innovative use of the props kept the storytelling fun and easy to follow. As he should be, the adult puppet of Hercules is striking. Puppeteer-ed with great skill and understanding by Suzie Ferguson, the ‘gentle giant’ of Hercules is brought to life in a very real way, with the overall design of the full body puppet being wonderfully lifelike in both size, quality and finish. Amazing stuff.

The show does a great job in its aim to be accessible to everyone however, there is quite a heavy tilt towards a young audience in the manner and presentation of the story which is a bit surprising if not expected. With little spoken dialogue combined with the innocence and lightness of tone, it falls more into the category of being a children’s theatre production which works well if that is its goal. This is not a negative thing at all, in fact it leaves great potential if it were to become a bigger production aimed at an older audience.

The story of Hercules is unique and unforgettable and this production gives a fun and gentle overview of the spectacular life, adventure and bond between a special bear and the couple that set out to care for him.

REVIEW: The Ultimate Classic Rock Show

Published on May 28, 2025May 27, 2025 by Alli CaineLeave a comment

“A night of epic guitar solos and legendary rock hits from the comfort of a theatre seat”

The Festival Theatre spent this past Sunday evening playing host to a tribute that boasts of being one of the UK’s best. The Ultimate Classic Rock Show promises a night of “stunning accuracy, high energy” and an “incredible light and projection show” while delivering approximately 2 hours of classic rock anthems. This show struck a more personal note, and brought up a lot of questions, so I hope you don’t mind humoring some thoughts from a 27 year old rock lover.

This tribute is a well-oiled machine from head to toe. It delivers what it promises, solid on all fronts and is professional to a tee. On stage we are entertained by the antics and prowess from a band of musicians who wear the heavy crown of dealing out some of the most well known music in recent history and representing the iconic personas that come swaggering along with it. Pablo Roberts Morales, Garath Kedward and Rhys Roberts took up bass, keyboard/synths and drums respectively, while Luke Bradshaw and Andy Park traded off riffs and licks from an impressive display of guitars. Rory Bridgeman and Sammi Broad were our talented and charismatic fronting vocalists.

As this is a tribute to a genre rather than a solo band/ artist, the audience were greeted with anthem after anthem from Queen to Fleetwood Mac to AC/DC to Deep Purple to Hendrix etc… the kind of names that would reach you even if you lived under a rock (those of us who are passionate about the genre are already well situated under said ‘rock’). The band as a whole were technically incredible, note perfect and true to the original recordings rendition. For its production value, the bang for your buck is worth it with the quality of both lighting and sound at an impressively high level and the overall mix, especially for the drums and guitar, being some of the best I’ve experienced recently. We are also kept visually stimulated by an additional projection above the stage showing the names, symbols, pictures or moving caricatures for each individual band as the music shifts. The bandmates were natural comedians, engaging with the audience and with each other making what could be completely scripted jokes and beats seem genuine and spontaneous. Sammi Broad in particular has great charisma, stage presence and comedic timing as well as the ability to be an absolute menace with a cowbell. It was light and fun, wrapped up in some great rock songs.

Make no mistake this was a great show, however I was struck, during and after the fact, with the question: why does it not feel…right?

I now proceed briefly from a more personal and inquisitive stance. I think the venue had the biggest impact on how this act was perceived. Theaters, especially our lovely Festival Theater, are safe, controlled and accommodating, and have very comfortable seats right up to the stage. This is a great thing, however I think it is safe to say, none of these descriptions have ever existed close to the idea of rock and roll. Being seated, having volumes at the ‘perfect’ levels, the performers well manicured and in mostly simple black clothing, well, it’s rock music but it’s clean and it’s comfortable, disconnected from its rebellious, rowdy, glamorous yet disheveled soul. It’s a choice and there is always compromise. I would be very interested to see it roughened up a bit and in a different space, I think it would really encourage the audience energy…but I am aware of my youthful knees.

This show was a great way to watch epic guitar solos, sing along to legendary lyrics and get a glimpse into how iconic bands may have performed the music that continues to shape our playlists today. I recommend it to people who would rather the comfort of a theater performance than that of the volatile experience of a rock and roll concert, but be aware, it may leave you a little wanting.

REVIEW: Ballet Black

Published on May 23, 2025 by Alli CaineLeave a comment

Darker subjects and exquisite dancing. You have been warned

Ballet Black presents Chanel DaSilva’s A Shadow Work, a (literal) dance and struggle between our “undesirable” self and our “pristine” self, and Cassa Panchos newest tour de force, My Sister, The Serial Killer, a gorgeous book to dance theater adaptation of Oyinkan Braithwaite’s best selling novel. Two ballet experiences delving into murky and uncomfortable depths of the psyche… with a little bit of blood to be spilled.

It must be immediately said that the cast of dancers were faultless over both productions. If you’d like to see raw, lithe, emotional dancing and acting, consider this your call to arms.

A Shadow Work was symbolic. A solitary dancer in white, our protagonist of sorts, encounters and grapples with their black-clad counterparts, a dark twisting mob of dancers, the representation of our true self and all that we repress. This was not a classical ballet, instead it easily fused with a more contemporary dance style to good effect. The soundtrack was unexpected and intriguing with composer Cristina Spineli sectioning out the turmoil in varying, trance-inducing synthesizer beats and textures indicative of the conscious versus subconscious state. The solo moments between the two main ‘good’ and ‘suppressed’ characters were among the best, their focus and attunement to each other led to breathtaking moments of synchronicity and fragility. A nod to DaSiva’s and assistant choreographer Jamal Callender’s prowess, there is a subtle yet poignant reflection and mimicry between the rival dancers as time passes– we need both sides indeed. With perhaps the potential to be edited shorter, it was a beautiful piece.

My Sister, the Serial Killer was engrossing, a horror thriller come to life in stunning theatrical ballet form. We follow the drama of two sisters, Korede, a nurse (Isabela Coracy), and Ayoola (Helga Paris-Morales), our flirtatious killer. As Korede deals with the guilt and demons of aiding her sister again and again after her kills, things get complicated when Ayoola’s next victim may be the doctor (Ebony Thomas) that Korde has loved for years. What a performance and adaptation. Every aspect of this piece worked: the minimalistic but well chosen set pieces, the pacing and transitioning, the incredible soundscaping of Tom Harrold’s chilling and dramatic compositions then enhanced by David Plater’s dynamic lighting design. It is impressive when the lines between theater and ballet can be blanched so well, and perhaps it was even more engaging because of the absence of speech, drawing focus to each gesture and expression for such a dramatic subject. The acting from the whole cast was at such a high level. I do hope the masterful costume designer (Jessica Cabassa) and multiple choreographers alike can handle the guilt of creating such hellish demon characters that shall now haunt many a dream. So brilliant and utterly terrifying.

It is a great thing to be surprised by art. These two pieces strike me as ones that may engage a wide variety of audiences and could be recommended to those who may not immediately choose to see a ballet. I guarantee they will change their minds. An excellent night. I look forward to following Ballet Black for years to come.

REVIEW: Cirqulation:Heritage

Published on April 29, 2025April 29, 2025 by Alli CaineLeave a comment

A fun and intimate night of quality circus acts

With great delight, Cirqulation hosted its 10th circus cabaret night with a whole variety to experience and much fun to be had. Established and emerging circus acts drew from the creative theme of ‘Heritage’, aiming to explore where we come from, what we bring with us and what is left behind…and of course you know it is going to be a good evening when you’re instructed to belt out Aladdin’s ‘Arabian Night’ within minutes of the show starting.

Setting the mood with a few opening ballads by the talented Callum Kaczynski, the sparkly narrator and host, Rachael Macintyre, with a folklore-ish, story telling twist (big book included), introduced the show and returned between each of the eleven acts. Keeping to the underlying mystique, the evening’s line up was kept as a surprise which was even more satisfying when each act was impressively diverse, showcasing a different circus skill.

Inspired from more natural elements, the elevated acts from Grace Turner (multi cord) and Lauren Jamieson (rope) were multi dimensional with live song and spoken word woven into their performances, touching on continual change or a longing for freedom. Turner’s rope ‘cage’ a particularly powerful metaphor. In a more surreal turn, The Robbie Sisters, witches in slick gold bodysuits and feathers, alluded to Scotland’s witch trials in contorted synchronization on the lollipop hoop. You couldn’t take the circus out of the business man in Bob’s (Robert Gallagher-Lyall) hilarious attempt at a 9 to 5 job post-circus juggling act while Mike McCallum struck contorted poses, seemingly held up by whimsical helium balloons. Drawing more directly from ancestry and familial roots, Bara Dankova delivered a simple but fun cyr wheel and audience-included Czech Polka dance while Yuliia Ivanenko’s fiery, relentless aerial hoop was an emotive nod to Ukraines continual struggle. Jusztina Hermann and Miss Mango made hula hoops do things I’ve never thought possible while questioning what example she leaves for her daughter, and a stand out performance from Mel Lee, who’s flying pole expertise was truly breathtaking, shaping her long sought after pride in her dual-heritage roots. Another stand out performance came from Robyn and Julia in a partner acrobatic duel with incredible choreography and flow.

And, there really was no better way to end a circus cabaret night than with a flaming trapeze dance rendition by Freddie Hercury to Chappell Roan’s ‘Pink Pony Club’. Hercury reminds us all that our family can be our chosen community and it can be the strongest connection for belonging– LGBTQIA+ lives matter!

All in all, the energy, flow and length of each performance were well orchestrated, costumes meticulous and skill level high, the line between professional and up and coming almost indiscernible. Circqulation strives to make circus performance accessible to the community and it was very apparent in the warm and welcoming atmosphere created and maintained throughout the show, and, even with some technical difficulties, nothing dimmed the joy of the event. A good pick for theme too, there emerged a subtle yet powerful feeling of resilience – we are what we come from, yet we are what we choose to be. Best of luck for Cirqulation’s final tours.

Photo credits: Mariola Zoladz (Kay) and Derek Clark (McCreadie, Shortall)

REVIEW: Nu-Age Sounds ll – Planet World

Published on February 3, 2025February 2, 2025 by Alli CaineLeave a comment

What is excellent about being given such a diverse brief revolving around places and spaces largely unknown to us, is the creative freedom we can use to interpret it.

Have you ever thought about what an entire planet could sound like? A monumental
task, even for our own planet of which we have some understanding. Meanwhile, eight
of Scotlands most distinguished and award-winning jazz composers have taken it a
step further, taken it to space in fact. This subsequent Nu-Age Sounds- PLANET
WORLD tour, highlights each planet in our solar system as every composer was
challenged with capturing the solar systems awe-inspiring majesty and exhibit their
planets character with the undertone of potential dire circumstance.
The composers and backing Scottish National Jazz Orchestra – made up of
trombones, trumpets, reeds, piano and a rhythm section of electric guitar, bass and
drum set – were so obviously excellent in their craft, delivering the exceptionally
complex and heavily textured movements with the cool ease and panache that is well
associated with jazz musicians.

The first section of the evening presented composers kitti, Helena Kay, Mat
Carmichael and Noushy (Anoushka Nanguy), depicting Venus, Saturn, Uranus and
Neptune respectively, and expressed the more romantic, joyful and deep wonderful je
ne sais quoi of the worlds. Vocalist kitti delivered buttery ballads with contemplation into the reaches of their universe. Trombonist Noushy, showed Neptune as a groovy-
heavy haven, heralding a call to action, while Helena Kay and Matt Carmichael, each masterful saxophonists, brought out incredible sweetness in tone with gorgeous,
moving solos amidst dynamic horn sections and changing attitudes. Carmichael in
particular had an incredible feel for organic transitions and emotive translation.

The second grouping of the evening saw the drama and chaos of the planets emerge
as Jupiter, Mercury, Mars and Earth came into orbit. Double bassist Ewan Hastie
promoted Jupiter with brash, cyclical energy, and a sense of grandeur, befitting of th
largest neighbor. Tommy Smith, showcasing Mercury, truly encompassed the fier
planet with soaring runs, explosive structures and a real sense of history and
storytelling— breathtaking. Mars, depicted by pianist Fergus McCreadie, had vastly
contrasting personalities, moving from light and mellow to vibrant and full bodied in its
sound with a stand out trumpet solo. Finally, Liam Shortall’s Earth gave a persistent,
nimble and polyrhythmic ending to this planetary parade.

What is excellent about being given such a diverse brief revolving around places and spaces largely unknown to us, is the creative freedom we can use to interpret it. This planetary tour is a force of talent in compositional jazz prowess and, interestingly enough, shows a unity and continuity between our understandings of very different atmospheres. It is fantastic beginning to the imaginings of how other atmospheres could feel, how life could sound under a different sky. With, what I’m sure are many more tours to come, hope the sonic boundaries can increasingly reflect how diverse and strange this universe could be.

REVIEW: Acolyte at the Soundhouse Winter Festival

Published on December 3, 2024 by Alli CaineLeave a comment

“Spell-binding. Loops that shouldn’t end”

If artist Sade decided to poetically narrate a slightly surreal dream about how you felt as a teenager, the ensemble Acolyte comes very close to realizing that dream. It is about “feeling a little weird” Iona Lee, award winning poet and spoken word artist confesses into the dark theater. A part of the new Soundhouse Winter Festival in Edinburgh, this spoken-word, psychedelic ensemble delivers its last performance of the year and, for an hour, inner turmoil is given a hypnotic groove.

Bassist Ruairidh Morrison, crouched over a spread of effects pedals, deftly builds a live bass loop. Layers are added. Gloria Black as a vocal shadow to Ionas lead, fills the compositions with merging harmonies and warm galactic synth drones. Suggestions of natural elements such as breathing, heartbeats, whistles and wind sounds are heard. Percussionist Daniel Hill is most expressive yet contained and marks out sections by switching between sticks, rods and mallets for different textural variations on his drum set, the eerie cymbal scratches being a favorite. Iona, our lone narrator, is a bewitching raconteur, her presence and delivery smooth and darkly compelling. She possesses the power of capturing and releasing tension effortlessly with contrasts of sharp image descriptions falling into surrealist storytelling. She deliberates mortality, want of attention, hangovers, self awareness, longing…spiders. These subjects may stem from feeling a bit weird but their attack is never heavy or foreboding and Iona moves through them like a vaguely bossa nova spell-wielder and is seeming pleased to catch the audience off guard with moments of unexpected dry humor or searing description.

Over all, it is refreshingly genre-bending, this perhaps coming from its psychedelic feel. The soundscapes created were transportive, suspending and demanded a certain relaxation—the grooviest meditation session. Looping cyclical melodies and rhythms have existed as far back as human musicology can reach and the response to it is deeply innate, this becoming more and more prominent the longer you are exposed to it. The spectrum of music and poetry is greatly enriched when mixed and stretched with experimentation and what Acolyte has done is prove how effective this can be. They have created their own gorgeous little world of it.

Acolyte is stunning and it is always impressive when an ensemble is so tight that it translates into the effect of being a bit out of body. With the promise of an EP coming out next year, what a treat we are in for from this hypnotic ensemble.

REVIEW: Men Don’t Talk

Published on November 18, 2024 by Alli CaineLeave a comment

‘Put on the kettle. Men Don’t Talk proves the opposite. And is all the better for it.’

Writer and director Clare Prenton has created a real gem. Men Don’t Talk is a heartwarming and poignant triumph of writing and acting, welcoming the audience into a fictional shed to join three male ‘shedders’ for a flash of deeply moving, very real, conversation about their own life struggles. With the focus on men’s health and wellbeing, inspired by lived experiences and executed with an obviously brilliant cast, it is a quietly powerful piece of theatre.

Prenton and her team have, ingeniously, brought a shed experience, complete with its quirks and numerous cups of tea and biscuits, to the stage and in doing so have masterfully merged reality with fiction. Throughout, the writing so viscerally captures the banter and dynamic between each character, including the audience as new shed members at times, it was easy to forget you were in a theatre at all. Utmost praise to the remarkable cast which is what truly solidified a fifth star. Dougal Lee stepping forth as Ken, the ex-history professor with a lovable but grinch-like mood was such a presence and fantastically spirited. Billy Mack, an effortless comedic relief playing the hilarious yet haunted Jimmy. Greg Powrie as Tom, the quiet glue of the trio, steady, compassionate and warm. The balance between such personalities allowed great dynamics to sensitive conversations and with stunning moments of camaraderie and connection, you come away with a feeling of great familiarity, as if you’ve known each character your whole life, or at least a version of them. Such is the power of a safe space.

The set, crafted by Frances Collier, was perfect. A true example of how effective four uprights can be with well chosen props and set dressing. In this instance, the creation of a cozy, multipurpose environment with filled shelves and fitted with a carpentry area was pleasantly functional and nuanced. Hanging tools askew, a pen dangling off a string on a clipboard, not one but two functional kettles and even the squeak of well loved chairs elevated the already realistic portrayal. It felt well loved. Collier is an artist. Music, used both as scene breaks and as scenic atmosphere, worked really well to tie the whole piece together, as did the lighting.

Men Dont Talk is a needed piece of theatre and a powerful example of what it can look like to have healthy, meaningful and perhaps life changing conversations, especially for men. If anything, it leaves you hopeful, open, and more willing to have a cup of tea and a chat with a friend or stranger than ever before. Highly recommend.