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REVIEW: Flight

Published on March 25, 2026 by nmcgarrityLeave a comment

‘A show that leaves you winded with hope and grief’

‘Flight’, based on the novel Hinterland by Caroline Brothers, was adapted by Oliver Emanuel and directed by Jamie Harrison and Candice Edmunds. Originally commissioned by the Edinburgh International Festival in 2017, it is an experience like none other, seen by audiences across the world. The sixty-five minute performance consisted of voice acting, music, lighting, and small models, exploring the journey of two young brothers travelling from Kabul to London. Equal parts creative, beautiful, and devastating, ‘Flight’ delves into the cruelties and dangers faced by refugees on their journey west.

The composition of the performance was unique and only added to the incredible experience. Each audience member was led to their own private booth, where they could watch the story unfold and listen through a pair of headphones. Staged in this way, it left the audience closer than ever to the two brothers whose stories the performance follows. The figures were displayed on a revolving set which lit up to draw the audience’s attention to the correct relevant panels. Enrapturing and spellbinding, the audience, at first, is charmed by the intricacy of the set. Every figure was clearly crafted with care and hard work; the details, varied and multitudinous, to capture the brothers’ emotion and dialogue.

In regards to the plot itself, the story that was told was beautiful, a considered mix of hope and tragedy. Unlike in theatre, where the audience are drawn in by the realness of the actors’ bodies and movement, ‘Flight’ was contained to still images and the model figures, but by no means did this detract from how engaged the audience felt. A sense of deep grief haunted the performance from start to finish, the connection to real stories and real refugees never out of mind. The story portrays the struggles of refugee children with honor and love without sugarcoating the atrocities faced.

At times it was difficult to connect the auditory experience with the visual. Some images felt untethered from the story being told, or slightly hindered by the lack of any movement. Moments felt rushed – the ending, in particular, perhaps could have been longer, exploring the repercussions of the final leg of their journey and the toll it took on the younger brother’s psyche. Some of the themes only had time to be explored briefly, and it would have been helpful to have a slightly longer performance runtime. Nonetheless, parts of this criticism can also be attributed to the haziness of a child reminiscing on a traumatic, years-long event: not everything will be remembered. If this was the effect that was meant, making this clearer would perhaps aid the audience in understanding this. Despite this, the performance as a whole was immensely powerful, and packed a punch that won’t be forgotten any time soon.

As a performance, ‘Flight’ is incredible. As a story, especially one based on real lived experience, ‘Flight’ is devastating. Vox Motus, the company behind the show, are gloriously forthright in their devotion to exploring stories that “challenge understanding of the world” (a quote taken from their website). Their performances are incredibly vital to contemporary societies worldwide, the themes and stories they tell equally brilliant and emotional. At its heart, ‘Flight’ is a show you don’t want to miss as long as you heed the content warnings: every part is designed with care and love, and is a breathtaking experience.

‘Flight’ runs until Saturday 4th April at the Citizens Theatre in Glasgow. Tickets for the show can be purchased here: https://citz.co.uk/whats-on/flight/#book.

REVIEW: Hidden

Published on March 18, 2026March 18, 2026 by nmcgarrityLeave a comment

“Performance at its finest, stripped of pretence”

Hidden, created by Motionhouse and Kevin Finnan MBE, is a masterpiece of a performance from beginning to end. Split into two acts — Descent Into Darkness and Finding The Light — the piece centres around seven performers who explore the meaning of humanity through movement and interaction. Coupled with the technical aspects of the show (namely lighting, projection, sound, and the set), they create an impressively and engagingly complex narrative of humanity and connection.

Finnan’s goal was to remind the audience that “the best of humanity is when we put the needs of others before our own” (taken from the programme). This is a goal that is more than achieved. The performers depict various parts of everyday life, but, beyond this, they depict various aspects of humanity — love, hate, desperation, unity, alive. Throughout, there is a constant search for connection, for the physical touch of the other performers, which is given only in small doses through Act One. Act Two offers touch and togetherness in tenfold, highlighting its power and significance in tragedy and struggle. The ephemeral moments of togetherness found in Act One end up disparate, adrift, as performers seek each other out on the large stage. These seconds of unity serve as a reminder that people are part of the same species, with the same desires buried deep down. This is only emphasised throughout Act Two, Finding The Light, where the light the performers find reflects the intimate, personal connection each of them have with the others. In Act Two, performers move as parts of a tender whole.

The fluid, often ferocious movements of the performers feel almost prehistoric. They move with a sure-footed precision that was enough to stun the audience within the first few minutes. All of the stunt work is beyond impressive, as are the performers’ interactions with the mobile set pieces. The metal structures onstage are simultaneously objects and subjects, used by the performers while also under scrutiny for what they represent themselves. At times they serve as projectors, displaying busy streets, the privacy of a living room, the bustle of a London tube station. The inclusion of these projections enhance the performance that unfolds, adding a further layer to the already awe-inducing experience.

Finnan explains he worked closely with the performers while developing and creating the show: this is evidenced in the trust the performers have in each other and themselves. While it is clear they are pushing themselves, they move with certainty, with a knowledge of the message they wish to send. The beauty of this genre is that it can be interpreted in multiple ways, but the performers tell both one synchronised story and individual ones.

Every various factor of the performance is carefully considered and crafted to tell a narrative, from the lighting and sound to the set and plastic wrapping used in dance — the latter of which being biodegradable. In this dance, one performer rips herself free from plastic wrapping, attempting to tug another to safety, only to end up subsumed by plastic again. The other performers control the movement of the set pieces, using them to entrap the two women, working as a singular antagonistic unit.

There are many other incredibly moving moments within the show, which is a must-see regardless of interest in physical theatre and dance. Accessible for theatergoers of all kinds, Hidden is a unique performance necessary for the contemporary world. In times of distress, connection and solidarity are crucial: Finnan’s creation reminds its audience that togetherness will always combat society’s darkness and isolation.

Hidden by Motionhouse was performed at the Theatre Royal in Glasgow on Tuesday 17th February 2026 before continuing its tour. Tickets and further information can be found here: https://www.motionhouse.co.uk/production/hidden/.

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: The Events

Published on February 22, 2026February 22, 2026 by nmcgarrityLeave a comment

An electrifying performance you will not forget

‘The Events’ is a play written by David Greig, directed by Jack Nurse, and assistant directed by Morgan Ferguson. It follows the journey of Claire (Claire Lamont) – a priest, a choir leader, and the sole survivor of a church mass shooting – as she grapples with trauma, grief, and confusion. A summary doesn’t fully do justice to the plot and story unfolding in Greig’s play, which offers a visceral hope for the future even in the face of the darkest aspects of humanity.

Wonder Fools, along with the live community choir, put on a performance that is jarringly unsettling, tearfully hopeful, and deeply beautiful. Walking into the theatre, the choir is smiling and cheerful, the overhead lighting warm and inviting: you are offered tea, coffee, and to join in with the choir’s warm-up songs. It is impossible to feel uneasy or anticipatory for the dark events about to unravel. Indeed, in the face of the choir’s easy welcome, the audience is lulled into a sense of security and comfort. When The Boy (Sam Stopford) — the shooter, never given a name — appears onstage, this security shatters. For that split second, the audience feels the same fear, horror, and shock as the choir do, as it is revealed The Boy murdered them all. The people in the choir feel real: as they disappear into the darkness, and as the audience understands them to be dead, it is hard to shake the connection that we had with the choir, and the feeling we have lost something, along with Claire.

From this electric beginning, I knew I was watching a five-star performance, and I was never proven wrong. Lamont’s grief and desperation to understand what has happened to her is devastatingly compelling. Lurching between the past and the present and the possible, Lamont’s portrayal of Claire’s spiral is beyond impressive. Confronted with the impossibility of the question – “What if bad things just happen?” – in her search for reason after unthinkable violence, Lamont demonstrates victimhood and the healing process as complicated, ugly, agonising, angry.

Stopford oscillates between equal parts menacing, despicable, lost, and tragic. Stopford also has the challenging task of playing other characters that Claire seeks out on her journey – a racist politician who condemns The Boy’s actions but believes his message worth listening to; a neglectful father who rejects The Boy in one breath and talks about mocking him the next; Claire’s girlfriend, Catrina, who suffers from Claire’s obsessive compulsion to uncover the truth about The Boy. Despite the monumental difficulty of making each of these characters compelling and fleshed-out, Stopford goes above and beyond.

The choir is what ties this whole performance together. At times jovial, other times haunting or frightening, their songs and presence add another tier of uneasiness. They exit the stage very rarely, almost always watching, and it is impossible to forget their fates. Each member of the choir was a vital addition to the play: their presence is a necessity, and each one of the choir members is equal parts chilling and painfully human.

From the haunting music (by composer John Browne, sound designer Gary Cameron, and community choir directors, Calre Haworth and Gerard Johnson) to the powerful use of lighting and shadows (from lighting designer Lizzie Powell), not a single area of the performance detracts from the story. While I personally wished the ending was different, I believe it remained true to the overall message of the play – that forgiveness may not be possible, or complete understanding, but empathy is always an option for us, even in the face of the worst moments of our life.

A magnetic, incredible show in every aspect, Wonder Fools’ performances of ‘The Events’ is not to be missed. The show has concluded its tour at the Tron Theatre in Glasgow, but continues at Dundee Rep on the 25th February before going to the Traverse Theatre in Edinburgh on the 27th and 28th February.

REVIEW: Burnout: A Verbatim Play

Published on February 7, 2026February 7, 2026 by nmcgarrityLeave a comment

A highly emotive and educational piece of theatre vital for the modern world.

From the premise alone, Burnout: A Verbatim Play promised to be fascinating. Composed of dialogue entirely from twenty-seven interviews conducted by writer Ellen Bradbury, Burnout revolves around experiences of (you guessed it) burnout, and the pervasiveness of this feeling throughout society. Four incredible actors – Ellinor Larsson, Ewan Little, Pablo López Sánchez-Matas, and Evie Mortimer – took to the stage to relay Bradbury’s findings on burnout to a wider audience. Over the course of an hour, the play explores burnout across a myriad of areas, such as education, healthcare, and activism.

The stories told – despite the characters’ insistence – could belong to anyone. This is both a strength and slight weakness of the show. While it ensures the audience can resonate deeply with the narratives they hear, I found it hard to connect to the characters themselves. With twenty-seven different voices, the actors felt more like conduits for the stories, rather than characters. This isn’t a comment on the acting, which was superb. Rather, I felt the set-up – where each actor portrayed multiple interviewees – limited the depth of the individuals behind the stories. It was difficult to feel attached despite the actors’ commendable performances. However, this is a very small issue I had and didn’t detract much from what was overall a highly moving show.

Occasionally half-hidden in deep shadows, occasionally exposed with a flood of light, each actor brought a compelling mix of humour and vulnerability to every story they told. There was not a moment where the actors didn’t have the entire audience’s attention. From the heartfelt to the hilarious to the hopeful, each one gave a believable, beautiful performance.

The writing, by Bradbury, and the directing by Emma Ruse together painted a strong image. Chairs onstage highlighted the growing clutter of a mind in burnout; the stutters included in Bradbury’s script kept the stories true to life and a showcase of the difficulties in talking about such a personal issue. Also highly notable are the uses of lighting (Tom Showell) and sound (Maia Imogen Harding), which further create tension.

While I felt the structure of the play and its contents were sometimes very safe, that does not stop it from being a fantastic performance. At only an hour long, the content covered is incredibly impressive. What starts as individual stories ends with the actors talking not only to the audience, but to each other. It emphasises the play’s message: during burnout, despite what you may feel, you are not the only one experiencing this. Burnout, Bradbury tells us, is a symptom of the system we live in – but we don’t have to deal with it alone.

This show’s run is now concluded and ran from 6th February 2026 until 7th February 2026 at the Tron Theatre in Glasgow.

REVIEW: So Young

Published on November 1, 2025November 1, 2025 by nmcgarrityLeave a comment

A complex exploration of grief, relationships, and growing old.

From its premise, ‘So Young’ (written by Douglas Maxwell) promised to be an emotional show. Revolving around a husband, Davie (Andy Clark), and wife, Liane (Lucianne McEvoy) visiting Milo (Robert Jack), who lost his wife Helen only a short while before. What promises to be “a great night reconnecting” takes a turn for surprise as Milo greets them with his new partner – Greta (Yana Harris) – who is over twenty years younger.

If those themes were not difficult enough to juggle, the individual relationships between each and every character are superbly and intricately written as well. With grief, age gaps, the awkwardness of enraging old friends, and social class all rearing their heads throughout this play, you’d be forgiven for expecting a performance devoid of comedy. However, Maxwell’s script subverts the stereotypical drama genre by engaging the audience with surprising moments of comedy and wit, augmenting the play’s fast paced action.

You don’t need to be middle-aged like the characters to be charmed and struck by the story that unravels. As a younger audience member, I wasn’t expecting to be hit so hard with the themes of growing old. Maxwell, along with the fantastic performances from Clark, McEvoy, Karimi and Harris, demonstrate the evergreen difficulties of what it truly means to grow up – yes, even for the characters in their forties. No actor was weak, each of them delivering a character that was uniquely intriguing, both in their internal struggles and in the dynamics developed between other characters.

The passion with which McEvoy delivers is not to be understated. Her performance, perhaps the most impressive, balances the grief of losing a best friend along with the fury directed at the man she perceives to be tarnishing her best friend’s memory. Particularly fascinating is the relationship that unfolds between her character and Harris’s: despite playing the younger character, Harris brings a profound sense of maturity and depth to the role that a less skilled performer would balk at.

Jack’s act as a mid-crisis, middle-aged, middle-class man is brilliant in his ability to elicit sympathy and frustration from the audience in a short time span. Understanding his desires to move on and the love he feels for Greta does not diminish the dislike he draws from the audience for the age gap of his lover or how quickly he has got over his deceased wife. These vying emotions within the audience kept us hooked, even if the character himself was not a particularly pleasant one.

And of course, Andy Clark, playing Davie, charms in his role. Equal parts comedy genius and deeply emotive, Clark draws the audience in with his range and the precision with which he delivers his lines. Despite being the less obviously emotional character, he is the character that perhaps the audience feels most deeply for: Clark delivers this role with the heartfelt grit that it deserves.

While the themes are heavy, the comedy and brilliance of every actor balance the performance out into something really beautiful. Don’t miss it: ‘So Young’ by Douglas Maxwell promises a night not to be forgotten.

Get your tickets here: https://citz.co.uk/whats-on/so-young/#book.

REVIEW: Boys

Published on October 3, 2025October 3, 2025 by nmcgarrityLeave a comment

‘Compelling, captivating, and crucial for the current times’

‘Boys’ by Ella Hickson is a play about masculinity, friendship, adulthood, and taking a stand for what’s important. First performed in 2012, this 2025 performance by Northern Assignment held its audience captive throughout its two-hour run, and is performed by a cast you don’t want to miss.

Taking place in a flat rented by four boys – the partier Timp (John McGeachie), the smug pessimist Mack (David Lister), the up-and-coming musical talent Cam (Ben Robert Cunningham), and the kindhearted Benny (Sam Stuart Fraser) – ‘Boys’ follows their lives throughout twenty-four hours in 2011 as Mack and Benny graduate from university. At the same time, Cam prepares for the musical performance of a lifetime, while Timp takes each excuse to party like nobody else. They are joined by Laura (Imogen Mackie Walker) and Sophie (Erin Scanlan), who join the boys as the truth unravels, leaving each character in difficult predictions.

From start to end, each actor provides a fascinating character, bouncing brilliantly off the energies of the others onstage. No matter where I looked, there was something happening – even without lines, actors engaged with each other constantly, creating an atmosphere brimming with tension and energy. There is startling depth to each character, culminating in a chilling scene towards the end where each character has a moment of breakdown. In particular, Ben Robert Cunningham draws attention, despite having limited lines in this moment: sobbing and mechanically moving back and forth with bin bags, torn between his friends’ viewpoints on what to do, the actors veer disturbingly and electrically between comedy and horror.

Another highlight was the relationship between Timp (John McGeachie) and Laura (Imogen Mackie Walker): both actors portrayed messy, agonisingly complex characters. McGeachie’s infectious presence onstage is complemented by Mackie Walker’s glowing portrayal of Laura.

The dynamic between Scanlan, Fraser, and Lister is equally impressive. Fraser has formidable range, shifting from the soft-spoken reflective young man to the viciously furious student, and his on-stage clash with Lister is reaches a delicious boiling point by the end of the play. Lister plays a seemingly-disgusting character with such brilliance that it feels near-impossible not to hate him – only to flip that on its head by the very end, when Mack’s facade comes crumbling down.

Scanlan’s portrayal of Sophie is fantastic. While in the text alone, Sophie comes across as unapologetic and somewhat shallow, Scanlan elevates her to a fractured, struggling young woman whose desperation reaches a fever pitch at the play’s climax. Showing amazing talent, she creates feelings of sympathy for the character that may have been difficult to feel for a weaker actor.

One of the only weaker spots comes at the very end. This is partially the script’s fault, which expects the audience to believe each of the characters forgive each other after some of the horrendous truths that emerge. I would have liked to see the actors play with these lines to express the uneasy tension between the dialogue and the reality of the characters – perhaps hinting that despite their verbal camaraderie, all is not resolved – but instead I was left feeling mildly dissatisfied by the end. As I said, however, I believe this is mostly due to the script: having been created in 2012, its gloss of several themes comes across as two-dimensional thirteen years later, in 2025.

Overall, however, Northern Assignment’s performance of ‘Boys’ by Ella Hickson is not to be missed. Deviously funny, shockingly relevant, and heartbreakingly well-acted, this performance showcases the incredible talent of Scottish theatre. Keep your eyes peeled for what this company and these actors do next!

REVIEW: The Same Only Different — Kenny Sinclair

Published on August 23, 2025August 23, 2025 by nmcgarrityLeave a comment

‘A must see comedy at the Fringe’

‘The Same Only Different’ is a show you won’t forget in a hurry. Performed by Kenny Sinclair, who has a flair for comedy and manages to get every member of the audience laughing within minutes, ‘The Same Only Different’ explores differences in generations of Scots, and universal themes that pertain to everyone.

There is something for every audience member: cheeky jokes, nostalgic reminiscence, tongue-in-cheek charm. Sinclair delights and entertains in equal parts, a true comedian who never falls short in enthusiasm. Things haven’t changed so much, he reckons — and yet at the same time, everything is entirely different. This oxymoron provides ample opportunity for jokes and poking fun at every generation, from boomers to zoomers, and their idiosyncratic ways of living.

At the heart of Sinclair’s show is an earnest reminder that while at times we may feel out of our depth, humanity doesn’t change much. We will always remember each other and have ridiculous stories to share — and we will always find a way to laugh at ourselves. Kenny Sinclair captures the spirit of every generation in his fifty-five minute comedy show with just the right amount of audience interaction and clever scripting. From Naked Attraction to tales you’ll remember being told by your granny (or, depending on your age, you’ll remember first-hand!), the show is a quintessential Fringe comedy that you don’t want to miss.

(The Same Only Different is an Edinburgh Fringe show, performed between the 15th and 25th of August. Tickets are available here: https://www.edfringe.com/tickets/whats-on/the-same-only-different.)

REVIEW: Someone has got to be John

Published on August 20, 2025August 20, 2025 by nmcgarrityLeave a comment

An incredible portrayal of trans struggles and defiance in the U.K., both historically and today

What do you get when you cross three-quarters of The Beatles, transmedicalism, audience participation, and trying to fit in with imposed standards? Speakbeast’s phenomenal performance piece, ‘Someone Has Got To Be John’. A fascinating exploration of what it means to be transgender in today’s Britain, Speakbeast tackle immensely difficult issues through the comic lens of a Beatles tribute group. By combining music, recordings from gender identity medical conferences, audience interaction, interviews, acting, and personal anecdotes, the company has created a spellbinding fifty-minute play you don’t want to miss. For fellow trans people, if there are any shows you see, give this one a watch – entertaining, educational, and highly emotive.

You don’t have to be trans or queer to find this show poignant and powerful. (Or even a Beatles fan!) ‘Someone Has Got To Be John’ provides an insightful look into the lives of trans people, both general and personal. From gags about tribute acts not quite living up to their namesakes to the several Johns who have influenced trans medicine in the U.K. – and yes, shocking, there was more than one – Speakbeast have got an original, clever, and intensely intricate show on their hands that they treat with such care and love. It is a lament to the current and historical state of medical care for a marginalised community: and a love letter to trans individuals, a promise of endurance.

‘Someone Has Got To Be John’ is a production at the Edinburgh Fringe Festival between the 18th and 23rd of August. Tickets are available here: https://www.edfringe.com/tickets/whats-on/someone-has-got-to-be-john.

REVIEW: Scatter: A Horror Play

Published on August 20, 2025August 20, 2025 by nmcgarrityLeave a comment

A play that packs a punch and intrigues as much as it terrifies

A horror play that is truly scary can be hard to find. Luckily, Indigo Productions have just the show – ‘Scatter: A Horror Play’ is thrillingly intense, and ultimately succeeds in its aim to be the scariest show at the Fringe this year.

Patrick McPherson stuns in his role as the protagonist and sole performer, though the set itself plays a crucial role too, as does the darkness of the venue. From the moment the audience walked in, they were immersed in a deeply unsettling environment with flickering lights that were barely enough to cast any kind of visibility.

Moments of humour were few and far between, but the moments that appeared, had the whole audience laughing: a wonderful use of comedy to break tension and provide the audience with a feeling of relief. That relief, however, was always short-lived, before McPherson plunged back into the terror of his protagonist and the terror of the themes in general. Rampant, generational mental illness was a huge part of the plot, which fascinates as much as it horrifies. The delicate exploration of grief, trauma, and familial relationships is terrific: coupled with the show’s themes of folklore taken to the extreme, it was a masterful performance that cannot be reviewed highly enough.

‘Scatter: A Horror Play’ is a production at the Edinburgh Fringe Festival between the 18th and 25th of August. Tickets are available here: https://www.edfringe.com/tickets/whats-on/scatter-a-horror-play.