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REVIEW: The Seagull

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Rating: 4.5 out of 5.

A tender rendition of one of Chekhov’s greats

Directed by Orly Benn and produced by Kyri Antholis, EUTC’s rendition of The Seagull is a soulful exploration of heartbreak, mortality, ego, and the relationships caught in the crossfire of artistic and romantic pursuit. Overall, the production paints a beautifully haunting picture, the combination of emotive design, intentional and heartfelt direction, and an incredible cast make this interpretation of The Seagull a triumph. 

Braced for the icy cold of Bedlam Theatre on Thursday night, and being a total newcomer to Chekhov, I had few expectations of what Edinburgh University’s Theatre Company had in store. This didn’t last too long though; as I entered the auditorium to the smooth vocals of Billie Marten and took in the dreamy set design I knew I was in for something special. 

Emilie Noȅl’s set is extremely polished. The stage is draped with soft blue linens, holds levels of exposed wood, centres around a lone guitar yet to be played, and all watched over by a gorgeously crafted moon backlit in the centre. On closer look and throughout the piece, the stage reveals its intricacies; in fresh flowers, patterned rugs, and the introduction of more colour and furniture. Everything has a thoughtful place in Bedlam’s relatively small space, and it is all used to its full potential, including the church’s balconies, stage door, and wings. A particular highlight of the collaboration between design and direction is in each scenic change; characters move furniture in and across the stage seamlessly. There is never a point where you don’t believe you are in Sorin’s country house even in these practical moments. Other design elements such as lighting (Aaron Rashid), sound (Dorian Toms), and costume (Rue Richards & Jane Morgan) carry a similar air of refinement and add to the impression of confidence that even the first five minutes in the auditorium exude. They all also build towards the dream-like environment we are plunged into once the production starts. The only aspect that somewhat distracts from such a carefully curated atmosphere is the almost cartoonish choice of gunshot sound. Being such a central part of the plot and eventual soundscape, it is odd that this was chosen, but then again it did certainly elicit the shock intended. 

Opening with skillful and stirring guitar from Liam Jackson and beautiful vocals from our Nina (Daisy Casemore), this production introduced us to its genius incorporation of music to elevate Chekhov’s script. Musical Direction and Composition – Linus Sheaff and Liam Jackson, respectively – is a true standout in this production. From the song choices themselves (a particular favorite being Both Sides Now by Joni Mitchell), to the use of guitar throughout, overlapping vocals with some stunning harmonies, and even whistling, this folky twist on a timeless piece is what makes the production shine. Orly Benn’s use of ‘lyrical word-painting’ is a practice that works extremely well in the context of The Seagull, not once feeling forced or somehow unintegral to the entire world created onstage. Benn has captured a gorgeously haunting sense of unease through all directorial choices, but the music in particular epitomises it.

Every character in The Seagull is balanced and confident, with particularly strong performances from Daisy Casemore, Benny Harrison, and Ava Vaccari (Nina, Konstantin, and Arkadina). Casemore’s ingénue is earnest, her excitement at the prospect of fame and life beyond the present played with animation and purpose. Casemore’s elation is juxtaposed by Harrison’s exasperation, finding a strange footing between charm and petulance that never misses a beat. The energy between these two actors remains captivating until the end. Vaccari’s vain and overbearing Arkadina is the centre of some of the most comedic scenes, as well as the most scathing, in the production and she plays both with an air of experience. These highlights in no way overshadow the other performances in this production, however, as each character is played with sophistication and conviction. 

All in all, EUTC’s The Seagull was a joy to watch, despite its tragedy, and I am thankful to have seen it. I was warned by a friend that Chekhov ‘might be dull’, but this tender and gorgeously-acted performance was anything but; full of spirit, talent, and understanding. The Seagull plays at Bedlam Theatre until the 15th of February.

REVIEW: Common Tongue

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Rating: 5 out of 5.

A perfectly executed exploration of so-called imperfect Scots.

Undeterred from interruptions by storm Amy raging outside the Studio Theatre on Friday night, Olivia Caw delivered one of the most animated, genuinely hilarious, and deeply moving performances I have ever had the pleasure of reviewing. The word ‘authentic’ is often used quite liberally, but here it is completely appropriate. The Creative team of Caw alongside writer and director Fraser Scott has crafted a beautifully authentic piece navigating the tangible and fraught social, political, and personal tensions tied to language; specifically, how Scots is experienced across time, place, and culture. 

Following the anecdotal life of Bonnie (Caw), the audience is invited to question individuals’ connections to language and the way in which it informs our identity and relationships. Encircling microphones on the edges of the tartan clad stage remind us of both the confinement and opportunity our words can afford us, set design from Mela Adela reflects the play’s messages well. Similarly lighting design from Benny Goodman guides the audience through character and location shifts in a simple but by no means dull fashion. From the moment the lights came up on Bonnie – clad in trackies and trainers, surrounded by neon tartan – to the moment the ovation ended, every aspect of the production felt intentional. Caw’s effortless and embodied characterisation brings a handful of new characters into the narrative, illustrating relationships with comedy, for sure, but also a real sense of tenderness, again reflecting the piece’s central themes of nuance and complexity. 

It isn’t that the message of the show is a particularly unique one, but the combination of audience address, poetry – occasionally a bit slam-night-esque – and impassioned spoken word tackles it from several angles within those 70 minutes. Scott’s script allows for self-interrogation from Bonnie and insists the audience does the same. Maybe to some a spontaneous rendition of Auld Lang Syne would seem cheesy or forced, but the moment you look back to Caw’s face, full of pride and appreciation that feels real and natural, those suppositions cease. Indeed, no instance of audience participation felt forced or awkward. There were moments towards the end of the performance that seemed to build towards a conclusion before Caw carried on again, but I found this to work quite poetically, again refusing to allow the audience to slip from engagement and illustrating the passionate conversation Common Tongue is contributing to, not introducing. Traversing primary school, first boyfriends, university, travel, and family, Bonnie’s story expresses the challenges of being defined by words; what we say, how we say it, how we reinvent ourselves in different circles, elicit different reactions and temper ourselves for others. Caw and Scott approach this with a characteristic charm and mirth, but never shy away from the disorienting reality of experiencing these things as a Scottish person in an increasingly Anglicised environment. Common Tongue actively engages with stereotypes, prejudice, and the reality of language hierarchies and classism with confidence, biting humour, and an undeniable passion.

REVIEW: Southern Light: Jesus Christ Superstar

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Rating: 3.5 out of 5.

“An ambitious take on Lloyd-Weber’s classic and chaotic rock-opera“

As soon as the iconic opening riff of Jesus Christ Superstar rang out in the Festival Theatre on Wednesday night the auditorium settled into a chilling quiet. The sole guitar held the audience on the edge of its seat until the lights came up to reveal the poised cast, just shy of 100, and a stripped back, imposing set. The first note I took during the performance: oh, what an opening!. 

Southern Light’s 2025 production has taken the Festival Theatre stage by storm, filling the space with a huge and talented cast, taking on such a legendary and complicated score with confidence. 

Direction from Fraser Grant fashions Southern Light’s large ensemble into a chorus reminiscent of more traditional operas, looming in the background throughout. This presence is imposing, as the ensemble are always observing, filming, and whispering in the shadows, but it did become a distraction at other points in the show. During crucial, emotional moments in the production, such as Gethsemane and Damned For All Time, the chorus’ torch-lit presence felt a little too intrusive, perhaps not as impactful as intended. Directing such a large cast on such a vast stage is commendable, though, and Grant clearly has a knack for it, there were just moments where a pause from the oratorio staging and ever-present chorus would have been welcomed. Also part of the set design team alongside James Gow, Grant’s vision for the production was original, blending the abstract and realistic together. There were a lot of elements to the set beyond what was physically on stage, with camera crews, shrouds, spray paint and phones used throughout to place us in a more modern era, exploring ‘Christ as Celebrity’. Overall, this paid off, it was definitely an inventive vision for the opera. At times there were perhaps too many things all at once, but then again this was conducive to the sense of chaos that characterises much of the production. Gow’s lighting design also had this sense of over-ambition in places, lagging spotlights were particularly distracting. 

Musical director Fraser Hume, assisted by Evie Alberti, has done a great justice to such an iconic score. Holding the 11-strong orchestra with confidence, Hume’s conducting was incredibly effective and supported the cast throughout to create a truly polished sound. When combined with choreography from Louise Williamson, this production really found itself in the larger, more upbeat numbers such as King Herod’s Song. A real standout moment of the whole production was Simon Zealotes/Poor Jerusalem. Led by Gigi Guyot as Simon, this energetic dance number filled the stage with conviction and skill. The incorporation of gymnastics, a little Fosse influence in Herod’s number, and several featured dancers felt very well placed, allowing everyone to have a moment to shine and add to these more vibrant numbers. The 12 apostles contributed to this sense of energy, moving as an obviously close-knit and engaged group. Throughout, Lara Kidd’s captivating Mary could be found with this group. Kidd’s apparent return to theatre is a great success, her characterisation appears extremely professional and considered, holding both the audience and her cast-mates on her every word. Kidd gives Mary a playful edge, interacting earnestly with Peter, poking fun at Judas, and ever supportive of Jesus, there was a real humanity to go alongside some stunning vocals. 

Colin Sutherland (Jesus) and Ethan Baird (Judas) maintain a believable and affective battle from start to finish, both in characterisation and powerful vocal performances. From his first entrance, Baird is unwavering in his commitment to Judas’ demanding numbers, giving a practiced blend of belt and breakdown. Mostly mirroring this energy, Sutherland’s Jesus is confident and commanding, with vocals to match. A little variation in volume and emotion would’ve developed this performance even more, but such an accomplished role has here been performed admirably. 

Other notable performances from classically-pompous Herod (Stephen Boyd) and some Matrix-esque Priests (led by Nathan Auerbach’s Caiaphas) rounded this production’s sense of imposition and action well. A special mention must be given to Darren Johnson’s Pilate, an extremely well measured performance that balanced an immense amount of detailed emotion both physically and vocally. Trial Before Pilate is long and notoriously difficult to keep engaging, but Johnson’s performance was acted tremendously, there was surely not an unengaged eye in the room. Overall, Southern Light has produced an energetic, confidently-led iteration of a famously demanding show. Standout performances blended with a confident ensemble makes this a very engaging night at the theatre.

Jesus Christ Superstar runs until the 10th of May at the Festival Theatre. Tickets are available here.

REVIEW: Cendrillon

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Rating: 4.5 out of 5.

A dreamy and passionate re-telling of an age-old folktale that explores the
not-so-charming realities of the fairytale world

Edinburgh Studio Opera’s Cendrillon is a beautifully constructed interpretation that pushes its audience to see beyond gorgeous gowns and charming princes toquestion what drives its characters. Director Iona Boyd’s clear artistic vision shines through in every aspect, culminating in a confident and meaningful production. The main goal of ‘peeling back the beautiful and opulent fantasy’ of the fairytale to reveal the reality of control, restriction, and expectation that punctuates tales like Cinderella’s is certainly achieved.

Musical direction (Kristine Donnan and Sally Proudman) supports what is already a very talented cast. The emotional drive of Massenet’s score remains throughout as they lead Edinburgh University’s Chamber Orchestra seamlessly from scene to scene. Elements such as choreography, set, and lighting design prove that less is more in a production with such a musical lead. Effective simplicity – from coat rails doubling as carriages, to prop changes signalling shifts in setting – prove there is nothing about Leanne Malaika’s set design that is mere decoration. Simon Hanks’ choreography embellishes chorus numbers wonderfully.  All of these aspects of the show’s design are faultless, providing a readability to the performance that make it enjoyable for even a first-time opera-goer. The only thing that threatens this at times is sound balance. Whether structural or musical, there are several points in the production where vocals are lost to the orchestra positioned at audience level.

A true creative standout is costume designer Almut Echtler. Everything is again created with the intention of both portraying and dismantling the fairytale facade. The Court’s fairy-tale costumes are stripped of their exaggerated exterior, revealing rigid structures, corsets, and crinoline. Their heavy fabrics, deep reds, and burnt orange represent social standing while commenting on the restriction of tradition. In contrast, La Fée and their entourage of spirits wield a dream-like freedom. In pale, glittering blues, layers of tulle and chiffon present a floaty disparity to the human reality. Immaculate costuming is refined by hair and make-up design from Chloe Robertson.

Cendrillon hosts a large and expert ensemble. Opening the show, the chorus is perfectly together and entirely committed to their characterisation. Those who return as La Fée’s spirits move as one throughout. The royal court is a hilarious show of pomp, with standout performances from Ellen Macrae and Benji Castella McDonald. The synergy of the ensemble is mirrored by stepsisters Hannah-rose Laverick and Aarya Gambhir. Complimenting each other, they introduce an innocence and fun to the Haltiére household. Each subtle but meaningful gesture elevates their performance and the directorial intention behind it; in their brief encounters with Cendrillon we see a breakdown of stereotypes where women would usually be pitted against one another. Nicole Dickie’s Madame De La Haltiére is truly a force to be reckoned with, in voice and movement. She commands the stage (and her husband) in a manner befitting the lady of the house. Finn Maguire plays off of this well, with moments of comedy well placed so as to not drift into a pantomime-esque display. La Fée (Amy Worsfold) also takes charge of the stage, embodying imposing yet supportive confidence.

Cendrillon and Prince Charmant (Lara Keen and Lily Hodge) captivate the audience immediately. Keen holds the audience’s eye and ear with an extremely earnest performance full of emotion. Hodge’s Charmant is fuelled by an endearing yearning that enthralled the audience before they even sang. At times this performance is a little static across from Keen, but overall this does add to the contrast between their characters, reinforcing the constraints of expectation.

Cendrillon is an empathetic and confident opera that successfully embodies Boyd’s artistic vision, an immensely enjoyable and polished production.

REVIEW: Much Ado About Nothing

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Rating: 4 out of 5.

Flung into the musical romance of Laurel Canyon, The Shakespeare Society’s ode to the 70s delivers on all fronts a punchy, heartfelt, and unabashedly fun rendition of Much Ado About Nothing

While some cupids kill with arrows, and some with traps, this cupid kills with immaculately curated design, the sprinkling of live music, and embodied performances that leave you wondering if the bard wrote this comical chaos while listening to Mama Cass.

Directors Madeline Brown and Marina Funcasta, assisted by Anna Simurda, deliver a production brimming with the warmth and joy intended, confidently pulling off the funk and nonchalance of the 70s. With every element attended to with obvious care and consideration, particular credit must be paid to the production’s design. Ingenuitive set and meticulously thought out costume bring this production to life, with every detail – down to the records on display, and the cast’s makeup – keeping the audience lounging in the Canyon. Lighting and sound add yet another layer of refinement, with minor microphone issues failing to distract the audience too far from the action.

A unique element of this production is the input of live music, led by musical director Laurie Macfarlane. Anytime the live band replaces musical tracks, the authentic atmosphere is heightened. Keeping the band onstage for longer may have lessened the slight feeling of interruption that came with these interludes, however, keeping the audience immersed in the intended musical world throughout.

A deep appreciation of the text is evident in each and every performance in this 21-strong cast. Leading with energy, Verity Mann and Benedict Harrison embody Beatrice and Benedick with professional ease. Mann is an instant hit as she struts on stage, delivering Beatrice’s wit and self-reliance in such a way that the audience couldn’t help but cheer at her emboldened ‘If I were a man’ speech. Complimenting this in every way, Harrison’s performance is an explosion of animated charisma. Beyond their quarreling, Mann and Harrison facilitate one another’s move to vulnerability and romance expertly, you can’t help but root for them. The other lovers in this tale, Hero and Claudio, portrayed by Francesca Carter and Ryder Hartley, are the picture of earnest devotion, demanding the audience’s sympathy and laughter. Carter provides a brightness well suited to Hartley’s understated charm. The youthful portrayals of the play’s protagonists is made all the more meaningful alongside Ingram and Wollgast’s assertive portrayals of Leonato and Antonia. Vibrant interpretations of Maragret (Dé), Ursula (Revell), and Balthasar (Laing) prove this is a production of dramatic equals, with every actor poised and ready to deliver; the audience is not once questioning their conviction or ability. A moment must be taken to appreciate Eric Parker’s flawless and flamboyant Don Pedro. Decked in leopard print, heeled boots, and unwavering assuredness, Parker orchestrates the plot and cast in a manner befitting of Don Pedro’s station. Antagonists Don John, Borachio, and Conrade are transformed into an alt-rock crew by Cameron Broadly, Fraser Murray, and Sam Gearing. Each skillfully blends an air of petty indignation with pure chaotic meddling, holding the audience on their last word and driving the plot to its extremes. In contrast, Morris and Leeb as Dogberry and Verges, lead efficacious comic relief with their law-keeping assistants played by Mottahedan, Ward, and Lahkany. Dylan Kaeuper’s hillbilly-come-hippie Friar – accompanied by graceful groupies Duda and Oppong – brings a welcome respite from the play’s tensions, offering a well balanced hilarity to offset its conflicts.

This production exemplifies the fun in Shakespeare’s chaos and confusion. Enmeshing this story amongst the music, fashion, and laid-back energy of the 70s paid off in every way, concluding with compelling groove. The University of Edinburgh’s Shakespeare Society deliver an undeniable charm in this colourful, sequined rendition of Much Ado About Nothing, running from the 4th-8th of February at Pleasance Theatre.