Tag: scotland

REVIEW: Three60 World’s Evolution

Published on by Will OsbonLeave a comment

Rating: 3 out of 5.

A highly skilled and thrilling dance showcase that struggles greatly to deliver on its storytelling promises.

After its initial Glasgow showcase in 2022 and its reimagining in 2025, Scottish Street Dance troupe Three60 is now taking “World’s Evolution” on tour. This dance fusion show promises multiple styles of dance as well as a story that follows the journey of humanity. But does it succeed in this mission? It’s a mixed bag.

There is no denying the ability of these performers. From popping, krumping and tutting, to African and Caribbean dance, the technique is off the charts here. This show is stuffed with styles, and the group does a great job at alternating the pace and energy of the show as these styles fluctuate. Performances here are stronger when the group performs as a collective. Earlier sections of the show relied on duets, solos or disconnected sequences, where the group feels more like performers running in and out of scenes as opposed to a collective telling a story together. These sections are still strong, but the final three songs pull together some fantastic footwork and synchronicity that feels like the shows cherry on top. In part this felt like a wonderful finale, but it also, in part, felt like a missing component only realised in the last ten to fifteen minutes. 

The show was structured into a series of episodes, krump heavy nearer the beginning and through the middle, but with more variation around the edges. While the arrangement of episodes feels somewhat off, the show still succeeds in delivering eye-catching set pieces. This is done through design elements and embodied choreography that discretely communicated new ideas. One performer adopted a mother earth style costume and other performers adopted large duster / trench coats, indicating individuals shrouded by a dystopian existence. On the other hand, performers at one point danced in a party-like setting with intermittent mimed drinking interspersed throughout, indicating a struggle with alcohol and substances. In general, Three60’s use of costume, small props and choreography, as well as lighting choices, communicated plenty about the themes and ideas of World’s Evolution; technology, desire, female solidarity, loneliness, and more. These were expansive episodes, some more successful than others, the most visceral by far being the sequences covering themes of loneliness and female solidarity.

While these dancers are highly skilled and a thrill to watch, and while certain design elements add some meaning to the dances, much of this structure is decidedly communicated through repetitive royalty free footage, voice samples and visual text. This separates up each dance sequence and is a common practice in Hip-Hop showcases. Unfortunately, these video elements and samples do not add anything to that which the choreography communicates readily on its own. Because of this, images of nuclear bombs and ticking clocks, sporadic text reading “Love”, “War”, “Poverty”, and even a distracting voice line from The Dark Knight Rises, feels rather superfluous. 

What “World’s Evolution” promises is a highly technical dance fusion show and a journey through humanity and a story of the world. Indeed, if you are looking for the former, you will be pleased. These performances are highly skilled and choreography does a perfectly good job at communicating its ideas. For the latter, what we instead receive are episodes that embody themes and ideas only. For a dance showcase, this is realistically still quite the accomplishment. But any promised attempt at coherent narrative is unfortunately lost. Perhaps some more focus in the future on using inter-scene video elements in order to lay out a narrative, one which cannot be (and is not already) communicated through the dancers, will help deliver on this promise and ultimately elevate the piece further. 

REVIEW: Saxophone Dreams with Jess Gillam

Published on by Will OsbonLeave a comment

Rating: 4 out of 5.

An enlightening evening of passionate musicians and contemporary pieces. 

It is very reassuring to see that seats are being filled due to current talent like Jess Gillam, Ben Glassberg and their orchestral group to celebrate and perform a range of contemporary work. Saxophone Dreams as part of the Scottish Chamber Orchestra’s New Dimensions concert series was an evening of equally educational and emotionally moving orchestral performance. 

The evening consisted of seven compositions, starting with Anna Clyne’s Sound and Fury. This was a fiery beginning to the evening, and an engaging listen. Like river rapids, the composition twisted, picking up and losing pace when needed. Off putting notes and frantic playing from strings and woodwind were the highlight of the piece, finalising with a quotation from Shakespeare’s Macbeth. This piece was a gentle introduction into the possibilities of contemporary composition, including script quotations, discordance sounds and pace changes. 

To follow was a shorter piece, Lyric for Strings by George Walker, which was a compact and multifaceted piece. Performed only by string instruments, where plucking is used to evoke percussion and sections of violin mimicked singing, this was an exhibit of what is possible through reduction and minimalism. Therefore, a fitting piece for the show’s introduction. 

Glassberg, the orchestra’s conductor, then illuminated the show’s programme: contemporary pieces, many of which inspired by Gillam’s playing and intended for her to play. Then, Gillam joins the Orchestra to perform Dani Howard’s Saxophone Concerto, arranged specifically for Gillam. What followed was a jaunty number that swelled over time, as the saxophone drove the orchestra and accelerated it toward a rise of strings and percussion, opening up into a vast landscape of noise. A fantastic end to the first half. 

After the intermission, the orchestra started with Entr’acte by Caroline Shaw, which was a delightfully discordant piece. The orchestra performed the piece with a growing ferocity, taking the song’s volume from soft to very loud. Musicians played like cars passing by. Strings attacked slowly, climbing into an entrance and then spattered out with distant plucking. Filled with silence, this was a discomforting and unpredictable piece, but was an exciting welcome back. 

After this, Jess Gillam rejoined to perform saxophone for The Celtic by Dave Heath and Rant! by John Harle. Starting with The Celtic, this piece contains three movements, with the third and final movement being particularly emotionally moving. The piece tells the story of bustling London life, then a deep yearning, then the beauty of Scotland and London coming together. Funnily enough, the saxophone section moves from disagreement, to agreement, to harmony with the orchestra from movement to movement. This was an extremely well composed piece, and a very personal one, which this orchestra brought to life beautifully. 

The evening concluded with Rant!, the most technical piece of the evening. Speaking briefly with Gillam after the show, she explained how there is always some anticipation leading up to the performance, much like performing a monologue in a piece of theatre. As for the piece itself, it was an ecstatic performance with apparent western influences. Gillam pulled her parts off with technical brilliance, and by the end the audience was on their feet.

With Gillam’s technical brilliance, Glassberg’s controlled conducting, and an orchestral group full of talented musicians, each with solos and moments to shine, this was a well-organised evening of contemporary work. Each song was placed in the right way, to introduce, move, celebrate and educate about the wealth of new work out there. 

Find more work by the Scottish Chamber Orchestra here: https://www.sco.org.uk/

IN CONVERSATION WITH: Divine Tasinda

Published on by ayoungishperspective1Leave a comment

We sat down for an exclusive interview with Divine Tasinda, one of the performers, artistic directors and choreographers, and costume designers and makers of World’s Evolution. Pioneering street dance company THREE60 presents the first Scottish Hip-Hop tour to take place in half a decade.

This show is touring from 28th February-23rd April across Scotland – Tickets here.

World’s Evolution is described as a journey from the origins of humanity to the complexities of the modern world, rooted in Africa as a shared motherland. What first sparked the idea to frame a hip-hop theatre piece around this expansive historical and philosophical arc?

Firstly, it was science that sparked the idea. The widely supported understanding that humanity originated in Africa inspired us to frame World’s Evolution around Africa as our shared motherland. As Africans ourselves, there’s always going to be a connection that brings us back to our roots. 10 years ago, through THREE60, I started a platform called AKO which was about identifying African diaspora dance, such as the evolution of movement and dance from dancehall reggaeton to experimental. This is where the depth of my research into my roots began. As an artist, I never felt like I fitted into a lot of productions. For example, I felt like my body moved differently and I didn’t always connect to the work. I felt like my story hadn’t been told yet – the African story hadn’t been told yet – especially not in Scotland, at that time. For me, as an individual, this sparked an interest to ask ‘Where do I come from?’ In my research of African dance, it also led me down the path of science and learning that the earliest human remains were found in East Africa. In a way, this made me think of the evolution of humanity being from Africa – rich histories that deserve a platform to be told, valued, taken care of and given space to. Ultimately this story is our story.

You speak about the work asking audiences: “Can you remember where you come from? Do you know who you are? Do you know where we are going?” How do you translate such big existential questions into choreography without becoming didactic?

The beautiful thing about dance is storytelling. The beautiful thing about Hip-Hop – as a sector – and African Art is that most movements are rooted in storytelling, especially African and traditional dance. A lot of African traditional dances were born from their day-to-day life. For example, how men went to hunt and how women went to fetch water, there’s movement in that. A lot of African dance is very spiritual too, so a lot of movement is embedded in healing practice. For example, there’s one dance called the ‘rain dance’ where a village of people come together to dance and manifest rain. Hip-Hop was created at a time when the African diaspora didn’t feel heard, as they didn’t have space to express themselves. Dance, movement and music has always been used as a form of storytelling – as a way of communicating messages.

THREE60 has spent over a decade championing Street and African Diasporic dance forms in Scotland. How has that ten-year journey shaped this latest iteration of World’s Evolution, particularly as you take it on tour across the country?

World’s Evolution is ultimately a show that brings together different shows that THREE60 has developed over the past 10 years, on our journey as choreographers and directors. There are sections from each of us – the choreographers and directors – that range across themes of empowerment, motherhood, masculinity, darkness, perseverance and hope. World’s Evolution is inspired from our own individual stories; the hard parts, the parts where we had to fight to be heard and seen and the good parts. Regardless of hardships, there is something beautiful and precious about coming together to celebrate the arts and our own personal endeavours within that. THREE60 was born to show the next generation what’s possible, and that everyone deserves an opportunity and everyone is capable.

The piece blends Hip-Hop, krump, popping, and African and Caribbean dance traditions. How do you navigate honouring the cultural roots of these forms while also pushing them into experimental, contemporary theatre spaces?

The ownership comes less from changing the style, and more from taking up and demanding space.

Alongside the performances, the tour includes workshops and engagement classes. For you, what is the relationship between the stage work and the community work — are they separate strands, or part of the same artistic mission?

For THREE60, they are part of the same artistic mission as we are hoping to create more opportunities for upcoming Hip-Hop artists from youth to those who are closer to being professionally considered. For us, when we say community, we are talking about all areas of community. For example, every area we are going to is a community. Scotland is a community. For us the mission doesn’t change. Our mission is to give Hip-Hop the space it deserves, for it to be cherished and for it to be seen as equal across art forms.

THREE60 speaks about dismantling barriers within Scotland’s professional dance landscape. What barriers still need challenging, and how do you hope World’s Evolution contributes to reshaping the future of dance in Scotland?

To break down barriers, there has to be connection to Black people to ensure that the African diaspora and Black communities know that there are opportunities for them here. For example, there are opportunities for them to explore their art and creativity.There have been many crews in Scotland but there hasn’t been many opportunities for large-scale touring of Hip-Hop like with World’s Evolution. It is breaking barriers in bringing together different ages and types of dancers – from emerging artists to experienced professionals – and that each artist is paid. Currently we believe we are the only company in Scotland who is regularly giving paid opportunities to Hip-Hop artists in Scotland, so we hope to inspire generations of Hip-Hop and street dance artists on tour – showing them what is possible.

FEATURE: Many Good Men

Published on by Tamsin DunlopLeave a comment

‘Gen Z are rightfully front and centre in this essential exploration of the internet’s darkest corners.’

In the wake of Netflix’s Adolescence, a spate of high profile misogynistic killings, and also the last few millennia of humankind, misogyny has been a hot topic. The newest data shows young men to be especially at risk of online misogynistic radicalisation: the combined forces of algorithms, loneliness, and poor mental health combining to ensure maximum damage at maximum profit (that is, for the Tates and Musks and Fuenteses of the world).

Many Good Men is a participant-led digital forum theatre project aiming to tackle this rise in adolescent misogyny. Supported in part by the Scottish Government and Zero Tolerance Scotland, Civic Digits’ founder and artistic director Clare Duffy has created a forum for young people to express their thoughts and fears surrounding a broad range of interlinking topics: online radicalisation, masculinity, pornography, and the misogyny that underlies it all. 

Many Good Men begins the same way every time: there’s been an incel shooting in Edinburgh (specifically, the JD Sports on Princes Street) and two footballers are trying to find out more about the perpetrator and the cynical forces that led him there. Young participants from local schools and football clubs create him a backstory, considering the many ways he could’ve been left vulnerable to radicalisation: frequent themes include a lack of familial support, mental health issues, and (naturally) unfettered internet access. In tonight’s documentary screening at CodeBase, we watch participants as they create a character fighting with his father over the exquisite shame of having missed three penalties in a single game. Next, he’s pouring scolding liquid over his mother as he wails, “I don’t like hot chocolate, mummy!” – Gen Z’s understanding of the tragic childishness of incel culture is completely apparent. 

In further discussions, participants appear half-sincere and half-bemused as they earnestly try and describe exactly what a ‘chad’ is. It is a key facet of incel culture and Gen Z humour that both are inescapably ironic. There is such a fine line, or perhaps even no line, between a mocking tirade against Staceys, foids, and beta males and a genuine pronouncement of extreme misogyny – several participants say that they presumed Andrew Tate was a comedy persona upon first encountering his content. As such, it’s particularly impressive that Civic Digits have managed to utilise young people’s cringe censors for good. In the documentary, we see the participants laughing and cringing – whether out of nerves or embarrassment – as they act out the role of incel intervenor, probing the characters on what the real root of their issues is (probably not women). But still they perform, well and meaningfully, with an underlying seriousness that makes clear the pervasiveness of this phenomenon: the young girls involved in the project in particular demonstrate a striking familiarity with the manosphere and its growing influence in schools. 

Following the screening, a panel of young people discuss their involvement in the project, fielding audience questions spanning from neurodivergency to capitalism with an impressive clarity. The audience of teachers, parents, and educators are clearly receptive to such first-hand accounts of adolescent life in 2026: Many Good Men is a brave and necessary exploration of the many dark forces targeting the next generation today, platforming the voices of those most at risk and of most importance.

Read more details here.

REVIEW: The Snow Queen

Published on by ayoungishperspective1Leave a comment

Rating: 5 out of 5.

Fantasy with a splash of whimsy, The Snow Queen is a spellbinding performance!

I have and always will have a deep love and admiration for fantasy. Dress it up in music and dance and I’m there with bells and whistles and there is no mistake, this company have captured that fantastical element beautifully. In costume design, music, movement, all of it transports you to another world. Which realistically, is exactly why most of us who go to the theatre in the first place. That longing for escape, for a good story, for something that will make you feel alive, The Snow Queen delivers. I honestly don’t think my brain has been lit up in quite that way before when stepping into a theatre.

With regards to the dance element, I was thrilled! There really is something so satisfying about performers who can work in perfect synchronicity with one another, it gives me this warm, content feeling. This company operate at the highest level. Fair warning, I have absolutely nothing bad to say about this production and it’s because these people seriously put in the work. Everyone on that stage or in the pit were giving it 100% and I could sit and talk about it for hours. The phenomenal work of Scottish Ballet, their dancers, their orchestra and of course, the narrative they collectively weave. From the Summer Princess parting ways with the Snow Queen, her desire to find and bring her sister home, the love between Kai and Gerda and the lengths she is willing to go to find him and bring him back to her, it all translates seamlessly. I also love the parallel between the Snow Queen and Gerda. Ultimately, they both want to be with the people they love and will do whatever it takes to make that happen. The only reason the Snow Queen even uses her magic on Kai is because Lexi refuses to return home with her. It’s a desperate move and one made out of anger and loneliness. Kai is really just a pawn, someone to make her feel less alone and also draw her sister back to the ice palace and Gerda? Well, she’s just unfortunate enough to get caught in the middle of a family feud and has enough fortitude to face a power greater than herself to fight for who she loves. All of which is expertly demonstrated through the dance and orchestration.

The orchestra really helped capture the feeling of magic this story exudes. There’s a consistent whimsical feeling to what we hear. True, there are menacing moments such as Kai being struck by the glass or the Snow Wolves stalking their targets (also, quick nod to their costume design which was brilliant) and the orchestra masterfully reflects those emotions but there is this light, almost bouncy quality to what we hear throughout. I noticed it first when the Summer Princess enters the city for the first time under the moniker of Lexi and again at the start of act 2 when we enter the traveller’s camp. This overall may have been my favourite sequence in the show as it seemed to combine classical and folk elements to create an environment that was alive with community. Even the dance embodies this. The two go hand in hand and often in a way that makes you want to laugh or smile. It’s cheeky. It’s playful. It’s having fun and it wants the audience to have fun. This often follows Lexi’s character as whimsy is definitely the word I associate with her most after she leaves the palace. 

Let’s be real. Ballet dancers don’t get nearly enough credit for how good an actor they have to be. People focus so much on the music and dancing, the spectacle of it all that I fear their ability to inhabit someone else isn’t appreciated enough. There was more expression in Lexi’s head movements than I’ve seen in some fully scripted West End shows. It may sound like a joke but something that I noticed consistently, not just with Lexi but across the board is that every move is made with intent. Every movement says something and Lexi’s spoke volumes. She’s scrappy, resourceful and there’s something truly whimsical about the way she moves her body (especially her head), in a way that toys with her marks but playfully. Lexi may be a thief but she doesn’t do anything out of malice and that feels clear in the way Melissa Polson approaches this role, in the way she moves. She made me smile more than once.

Jessica Fyfe captured the icy nature of The Snow Queen in her moments with Lexi. Through reserved, thoughtful movements, we see her become colder as her sister refuses her pleas to return home. With Kai however in the ice palace, we see someone who longs for connection in the way she dances with him. This scene was art, absolutely a highlight. Beautiful and precise, perfectly executed!

I loved Kai’s tonal shift from the joyful, carefree person who loves Gerda so warmly to the anxious, frustrated nature we see in him after the Snow Queen’s spell. Except of course when he is with the sorceress, where we can see how that ice in his heart gives him tunnel vision for her alone, rejecting Gerda’s touch at every turn. Even in that though, we can see a conflict, some confusion, which I like to think is Kai trying to break free. All of this is remarkably translated through Bruno Micchiardi’s skills.

I wish I could go again. I really did have the best time and as my first classic in this medium, I can now confidently say I love ballet and that is thanks to The Snow Queen. The Snow Queen lived up to every expectation I had, not just from ballet as a whole but as a story I’ve long been intrigued by. Musically? Sublime. A must see!

This show is on tour across Scotland this festive season. Tickets here.

Festival Theatre, Edinburgh

27 November – 7 December 2025

Theatre Royal, Glasgow

3 – 17 January 2026

His Majesty’s Theatre, Aberdeen

21 – 24 January 2026

Eden Court, Inverness

28 – 31 January 2026

IN CONVERSATION WITH: Josie Young

Published on by ayoungishperspective1Leave a comment

We sat down for an exclusive interview with Josie Young, producer and host of the In Dialogue – The Theatre-Maker’s Guide podcast, and Digital Media Coordinator at Scottish Youth Theatre.​

In Dialogue – The Theatre-Maker’s Guide is a special four-part series bringing together insightful conversations with young creatives actively shaping the future of Scotland’s theatre sector. The first episode was released on Wednesday 22 October.

Stream all episodes of In Dialogue by Scottish Youth Theatre by searching ​for it wherever you get your podcast or by clicking on the link. 

In Dialogue – The Theatre-Maker’s Guide feels like such a great idea – giving young artists a platform to share real, practical insight. How did the concept for the podcast first come about?

From talking to emerging theatre-makers through our programmes, we knew that Scotland’s young creatives needed responsive resources that shared insights on what it takes to start a career in the theatre industry. And who better to talk about what’s going on than the young artists themselves? And podcast as a medium is great, because it allows us to really delve into the artist’s story whilst the listener can be going about their day – absorbing practical tips while on the bus or doing the dishes. The amount of information you feel like you need to know when embarking on your career in theatre can be extremely overwhelming, but with this, we hope to make it as convenient and as accessible as possible.

What gap did you feel needed to be filled in the conversation around emerging theatre-makers in Scotland?

I’ve been in many rooms with more establishing theatre-makers, where their advice and anecdotes are outdated – which they admit themselves. There is a gap for a platform where the experiences of emerging and early-career artists are elevated. A space that is aware of the way young creatives currently need to navigate the industry that also integrates the expertise of those who are further ahead in their career. We should be mindful that the sector is ever-evolving, so it’s not a one-size-fits-all approach. That’s what these podcast conversations try to get at – the rich diversity of voices, skills and experiences in the industry now. We need to hear from people who are actively experiencing and carving their own trajectory in the sector, what the barriers that got in their way were and, ultimately, what pivotal moments in that journey stood out for them.

The episodes cover everything from auditions to collaboration to upscaling – all the nuts and bolts of creative life. How did you choose those themes, and what do you hope listeners get from them?

We conducted a survey last year to gather feedback and experiences from young artists across Scotland. From there, we were able to understand what some of the most urgent topics that young theatre-makers wanted to learn more about were and set our sights on the podcast as one of the means to address that. We hope by listening that audiences will get up-to-date and relevant insights that could inspire their own decision-making and career trajectory. We pair our topics with artists who have first-hand experience of them or are working in that form and can therefore relate to the barriers that face young artists in Scotland right now. There isn’t any sugar-coating here but, equally, there is a lot of hope and inspiration in these stories too. 

Has there been a moment, story, or piece of advice that really stuck with you personally?

There is a quote in one of the episodes in the current series from artist Indra Wilson. They say; “I wanted a platform that was going to level me up and… start my career on. That feels quite like, we shouldn’t talk about that, we shouldn’t talk about what we’ll gain.” I think this really gets to what the heart of the episodes are about and what faces many emerging artists today. That it feels like there is a shame in ambition and making choices in what will benefit your career. What we want to provide through this series is transparency; to enable artists to not only think creatively but strategically. Finding space and time to get into the position that they want and to not shy away from talking about that.

If someone tunes in for the first time, what do you hope they take away after listening?

In every episode, you will find diamonds of knowledge and wisdom that could inform your next career move. Be prepared to rapidly open your notes app and think about how you could incorporate the tips into your own journey. These episodes are empowering listens, from young artists who understand how tough it can be when you’re first getting started. But the stories are there to encourage you to advocate for and look after yourself, to leave you feeling inspired and motivated to take that next jump in your own career. Make sure you listen to In Dialogue – the podcast for emerging artists by Scottish Youth Theatre. Stream wherever you get your podcasts.

IN CONVERSATION WITH: Lucy Ireland and Jim Manganello

Published on by ayoungishperspective1Leave a comment

We sat down with Lucy Ireland and Jim Manganello about their new show Arlington created with their company Shotput.

Shotput is a dance-theatre company based in Glasgow, founded by and led by Artistic Directors Lucy Ireland and Jim Manganello. Shotput makes live performance as a shared space where together we explore difficult ideas, collective joy, and uncontainable human nature. Their productions are physically and visually rigorous, rooted in experimentation and collaboration. Though live shows are the heart of the company, we define our work not as a collection of shows, but as a web of relationships – collaborating with artists, audiences and communities.

What drew you to Arlington and made you want to bring it to the Scottish stage?

The play is so many things. Every time we came to it (and we came to it a lot – we’ve been wanting to do it now for five or six years), it meant something different to us. In an important way, it’s a mystery. Not a whodunnit, but something much darker and confrontational. The audience needs to work hard, and we love that at Shotput. We think theatre is a serious business that can also be manic and fun and uncontainable and messy and beautiful, and this play is all of that.

And apart from that, it would be hard to find a play that is more up Shotput’s street than this one. It revels in dark humour. It’s cinematic and visual. It’s got a huge dance solo bang in the middle of it. The text is as athletic as the dance.

And Scottish audiences love grit and heart, and this play is full of those two things. It’s not a gentle piece, it’s full of adrenaline. But, like a good gig, after the sweat, there’s a massive sense of release. If we get it right!

How do you bring to life the hope and love in a dystopian world, against the bleak backdrop? 

Distill it down, this is a Romeo and Juliet story. There’s a divided world, too – maybe not dystopian but definitely screwed up – and it is the love story. Two people discovering each other. Touching each other. At first just with their words. That’s Arlington too, but with a different mask on. A different poetry.

This mix of despair and hope isn’t particularly new – it’s in all great dystopian literature. A good dystopia doesn’t just shove your face in the shit and say ‘Look how rotten.’ As humans, we naturally search for inversion. A good dystopian vision activates the political core of the audience. It forces us to imagine what a better future – or maybe more precisely, a better present – looks like.

Do you see similarities to reality in the world Enda Walsh has created? How do you bring that to the stage?

This is connected to what we were saying about dystopias above. All the way through the design process and rehearsals, we’ve been clear that it is extremely important that this world looks and feels identical (or at least blink-and-you-miss-it similar) to our own. We, the makers  and the viewers of Arlington, cannot let ourselves off the hook. There’s no room for complacency. 

How do you bring that to the stage? You essentially ask everybody you are working with to be their full selves. To embrace the contradictions of what it means to be a human. We’re also on the look out for anything that’s odd just for the sake of it, and try to double down on the very real oddness that is within us. That oddness can be harder to detect because we swim in it, but once found it is a gold mine – and it’s the basis for both the comedy and the tragedy of Arlington.

How do theatre and dance work together to tell the story?

We don’t want to give too much away on this. The filmmaker David Lynch (huge RIP) used to say that we make these beautiful, mysterious things (in his case, films) in the exquisite language of cinema – and then after that is sent out into the world, it would be so sad, so inadequate to explain the film away, to decode or neuter it. When it comes to explaining the language, we are really reluctant to do that. We just want people to feel it, unmediated by our words, first hand.

What we will say is that the language of theatre and the language of dance are, for us, not so different. They come from the same place, just like someone speaking Spanish and someone speaking English try to describe the same sunset or tell each other they love each other in the same way. That’s how Shotput uses these different tools in our belt.

This is the first Shotput show without Lucy or Jim performing – how has it been to step into new roles as co-directors? 

How has it been?! Fantastic. We love performing and connecting with audiences in that particular way. But being only directors/choreographers this time has allowed us to be bolder, to work with swifter feet, and to collaborate with a tremendous bunch of performers who can do things that we can’t do and who bring experiences that are different than ours. It’s also allowed us to double down on how collaboratively we work with our designers, who are as much a part of our ensemble as the performers. So we’ll be back on stage one day, but this has been brilliant. 

What do you hope audiences will take away from this work? 

Well, as we said above, we think the audience will leave having really had a work out for their souls, brains, and bodies – and in that vein, we can’t know what they’ll take away because they’ll have done that work themselves. And we hope they talk to each other and to us in the bar afterwards about that work.

We certainly hope that this production allows room for existential despair, while also becoming a point through which people can – through humour, through hope itself, through connection to other people – pass through that despair to something generative and surprising and rowdy and beautiful.

Arlington by Enda Walsh is a show about telling stories, love and the enduring power of human connection in the face of oppression. It tours Scotland 17 October – 8 November. 

Tickets:  Lanternhouse, Cumbernauld | Tron Theatre, Glasgow | Traverse Theatre, Edinburgh

IN CONVERSATION WITH: Farah Saleh

Published on by ayoungishperspective1Leave a comment

We sat down for an exclusive interview with Farah Saleh, a Palestinian choreographer, performer and scholar. Saleh presents the bold and unflinching Balfour Reparations at Summerhall, as part of the Made in Scotland Showcase 2025.

Running from 13-25 August at 4:30 pm within Summerhall’s Techcube this Edinburgh Festival Fringe, the performance lecture investigates ways of confronting the United Kingdom’s colonial legacy in Palestine. 

  • What does it mean to imagine justice—not just for the past, but for the future?

Colonisation aims at denying the colonised their past, present and future, that’s why it is important to reclaim all three temporalities. We can’t look at the future without repairing the past, at the same time we can’t repair the past without imagining a hopeful future. Everything is interlinked in our present moment.  

  • How can dance and storytelling help us face histories many would rather forget?

Dance and storytelling have always played a big role in Palestine in unearthing untold and repressed narratives to prevent them from systematic erasure, that’s what we call the cultural intifada, where culture plays its part in resistance and steadfastness through any available artistic form.

  • If a government finally says “sorry,” what should come next?

Concrete actions and just reparations that can be financial, but most importantly cultural and political. 

  • What role can audiences play in shaping accountability—not just watching, but participating?

In Balfour Reparations the audience is asked act, taking part in a fictive, but attainable, reparations process, as a way to invite them to continue acting also after the performance ends, to hold their country and politicians accountable, but also to take part in direct actions, each according to their speciality and capability, as small or big as it can be. 

  • How do we make space for hope and imagination in the aftermath of colonial violence?

Hope and imagination is the only way forward, otherwise we will be stuck in this unbearable present forever.

  • Can art help us envision reparations—not just as compensation, but as transformation?

Art is visionary and transformative in nature and can help us envisage reparation processes that are not merely performative, superficial and apologetic. 

Alongside Balfour Reparations, Saleh has organised Welcome to the Fringe – Palestine – a mini-festival that celebrates Palestinian art and culture, with freedom and without censorship. 


Organised by an independent group of Scottish based creatives who have worked across Palestine and the wider Middle East, the programme will run from 11th – 15th August at Portobello Town Hall across the Edinburgh Festival Fringe.

For tickets to Balfour Reparations at Summerhall visit: 

https://festival.summerhallarts.co.uk/events/balfour-reparations/ ​

For more information about Farah Saleh, visit:​

www.farahsaleh.com 

Photo: Rebecca Need Menear

IN CONVERSATION WITH: Jessie Nixon

Published on by ayoungishperspective1Leave a comment

We sat down for an exclusive interview with comedian Jessie Nixon, a recent winner of the Chortle Hot Shots Awards, about her new show “Don’t Make Me Regret This” directed by Lauren Pattinson at the Edinburgh Fringe Festival this year.

Running from July 30th to August 24th at 7:20 pm at Assembly George Square Gardens – The Crate.

  • What made you decide to turn your most chaotic, messy, vulnerable moments into punchlines—and then share them with a room full of strangers?

A problem shared is a problem halved I guess? And I love it when people come up to me and say ‘that happened to ME!’ or ‘I feel the same but never realised before!’ and if I wanted people to think I was perfect I would nooooot be doing standup! 

  • Is there ever a point in writing comedy this personal when you think, …maybe I should have kept that one to myself?

Hahahahaha, is it bad that… no? I think I sometimes have to make sure I protect people’s anonymity in my stories but that’s the only scruples I ever seem to demonstrate.

  • How do you know when you’re joking—and when you’re accidentally telling the truth?

Woah… deep! I think maybe good standup is when you’re doing both, but certainly I’ve been known to go on long rants in my sets which are more truthful than funny. Luckily I have a director who can say ‘cut that waffle out’ which saves everyone a lot of time. 

  • What does it take to stand onstage and laugh about the things that used to break your heart?

It’s the classic equation: tragedy plus comedy equals time! But I also think that discussing something on stage trivialises it pretty quickly (Hannah Gadsby’s nannettetalks beautifully about this) I’m not fully against making the traumatic into the trivial but I think you have to make sure you don’t just commodify all of your darkest hours. 

  • Is this show a cry for help, a love letter to the unhinged, or both?

Certainly the latter, possibly the first? I’ll have to wait and hear what people say, but I think my show might be an acceptance that help isn’t coming and that that’s ok… 

  • What do you hope the changing-room criers and glitter-covered weirdos in the audience hear in your story that they haven’t heard before?

I hope that they feel like I’m reaching out to them and that their weirdest and darkest and most contrary thoughts are not sinful and bad and that so many people feel the same as them. I hope they take the show home with them and mull it over and it makes them feel seen and inspired and energised. 

Jessie Nixon’s debut comedy hour ‘Don’t Make Me Regret This’ will be at the Assembly George Square Gardens Crate at 7.20pm for the entire fringe for tickets go to www.edfringe.com

IN CONVERSATION WITH: THE NAKED NEDS

Published on by ayoungishperspective1Leave a comment

Hot off the heels of their sold-out 2024 tour, The Naked Neds are back! Get ready for a rollercoaster of laughter, tears, and maybe a few awkward moments with Paul, Jamie, Tony, Harry, and Bev! 

‘The Naked Neds’ follows a group of Glasgow lads as they navigate the turbulent aftermath of their best friend’s suicide. In a world where politicians’ expenses seem to matter more than NHS waiting lists, they decide to take matters into their own hands. After a string of failed fundraising attempts and just when their lives couldn’t get any more complicated, one of the boys finds a lump, throwing their plans – and everything else – into a whole new perspective and they realise there’s only one thing they can do; take their clothes off! 

How did the idea of combining comedy with a live self-check demonstration come about?

Ingram Noble: When I realised that me and my mates had no idea how to check ourselves I knew something had to be done about it. You can read as many leaflets or guides as you like, but nothing is going to stick in your head like three idiots on a stage talking you through how to check yourself. It’s been groundbreaking, as far as we know (and we’ve done the research!) it’s the first time it’s ever been done on stage and last year’s tour, albeit small, left us with loads of feedback from young men that checked themselves for the first time after seeing the show, after hearing that I knew that my job was done, well, almost done.

What has been the most surprising or memorable reaction from an audience member so far?

Ingram Noble: Irvine was mad – in the best possible way. They came on the ride with us and their energy just propelled us along the way. I was that into it I managed to rip a pair of tearaway trousers into shreds – with one show to go. (Sellotape did nothing but wax my legs!)

Lucian Burlingame: Probably my gran after the show, being so surprised that I had just done a full monty. 

Aidan Curley: The last night in Glasgow when my mum, girlfriend and friends all threw roses on the stage at me.

How do you strike the perfect balance between delivering laugh-out-loud moments and addressing serious health topics?

Ingram Noble: Striking the perfect balance between comedy and serious health topics is all about authenticity and timing. As a writer, I focus on ensuring that the humour feels natural to the characters and the world they inhabit, rather than forcing jokes into sensitive moments. Comedy works best when it’s rooted in truth, so I let the humour come from the characters’ personalities and interactions rather than making light of the issue itself. Pacing is also key; I structure the script so that the laughs create a comfortable atmosphere before weaving in the more serious elements. By building trust with the audience through humor, they’re more open to receiving important messages without feeling like they’re being lectured. And when you incorporate laddish, Glaswegian culture, the jokes almost write themselves. There’s something about the way Glaswegian men talk, rip into each other, and navigate awkward conversations that makes comedy flow naturally, even in unexpected moments. Of course, I always test the balance in rehearsals, making adjustments based on real reactions. The goal is for people to walk away having laughed, but also having learned something meaningful. 

Lucian Burlingame: I think the script tends to balance extremely well, where there’s a build up between the two, but it does take a lot of experimenting line-by-line to see where you can make a change to help deliver it. 

Aidan Curley: Finding the perfect balance between laughs and addressing serious issues in the play has been going through the script and making use of the characters’ jokes in the best way possible but also trying to find moments to make them vulnerable. 

Barry Morrell: We don’t treat the serious stuff like an afterthought – but we also never preach. The laughter opens the door, and once people are comfortable, we slip in the truth. It’s like having a pint with your mates and ending up chatting about the stuff that no one usually talks about. That balance comes from being honest, not trying to be clever. 

Hannah Mary Taylor: I think it’s about understanding that the characters use comedy and laughter as a way to explore these issues, it brings them up from the darker side of what they’re all going through. Once you understand that, it’s a lot easier to understand that there’s a lot going on behind the jokes and a lot more emotion. I think the two intertwine with one another and I don’t think these characters are capable of exploring one without the other.Lewis Gillon: I see the characters as real people going through things day to day, just like in reality. Treating each scene with the respect and humility it deserves is important due to the severity of the topics being shown. Authenticity is the thing that springs to mind, and placing myself in the characters’ shoes and trying to convey it had this become my reality and what my response would be to the people closest to me.

What’s one hilarious or unexpected thing that’s happened during a live performance of The Naked Neds?

Ingram Noble: Falling off of the stage, but I’m sure everyone else has mentioned that. On the final night, last year in Kirkcaldy we all lost it, completely just left the script behind after everything that could’ve gone wrong, went wrong. There were no staples in the staple gun, beer cans were full instead of empty, though I have a feeling that might have been Lucian and Aidan trying to have a drink at the end of the tour! 

Lucian Burlingame: Ingram falling off of the stage in Glasgow and improvising a line to get out of it perfectly. 

Aidan Curley: The most hilarious thing to happen during The Naked Neds performances has to be when Ingram exited the stage and fell off of the stage. The fall was loud and sounded painful, all whilst I’m on stage with Tanya trying not to break character. To be fair to him, he managed to play it off as part of the show.

How has partnering with Cahonas Scotland helped amplify the show’s life-saving message?

Ingram Noble: There’s no point in doing the show if we’re not doing it right. Cahonas Scotland has helped us make sure that beyond the laughs, we’re delivering something genuinely meaningful. Their support has extended the show’s reach beyond the stage, allowing us to engage with audiences through online awareness campaigns, and real action. Knowing that young men are leaving the theatre not just entertained but actually checking themselves for the first time proves why this partnership matters. Their expertise in raising awareness about testicular cancer and the importance of self-checking has given our show real credibility. While The Naked Neds is first and foremost a comedy, having the backing of a respected charity ensures that the health message at its core is accurate, impactful, and reaches the right audience. I would encourage anyone reading this to head to their website (www.cahonasscotland.org) to get the lowdown on testicular cancer! (Check yersel’!)

What do you hope audiences take away – not just about men’s health, but about friendship and vulnerability?

Ingram Noble: For me, The Naked Neds is the most important thing in the world because it’s more than just a comedy, it’s a conversation starter. I want audiences to leave not only with a better understanding of men’s health but also with a deeper appreciation for friendship and

vulnerability. At its core, this show is about the way men, especially in laddish, Glaswegian culture navigate emotions, banter, and bravado while struggling to say the things that really matter. I hope people see themselves and their mates in these characters and realise that it’s okay to drop the act sometimes. It’s okay to check in on each other. It’s okay to talk about fears, health, and mental well-being without feeling like less of a man. If even one person walks away from the show and opens up to a friend, checks themselves for the first time, or just feels a little less alone, then we’ve done our job. Because at the end of the day, The Naked Neds isn’t just about laughs — it’s about a lot more. 

Lucian Burlingame: 100% that friendship is key in any situation and that vulnerability isn’t a weakness. Your friends will always be there to get you out of stuff like this. We want the audience to leave and remember to be grateful for the friendships they have. 

Aidan Curley: I hope the audiences take away, not just information about mental health but about men being able to be vulnerable around friends and being able to express themselves in a way that they aren’t going to be ridiculed by their mates for it. I also want the audience to see what a community of mates can do when put in a time of sadness and how they can work together to bring hope and raise awareness for the rest of the community. 

Barry Morrell: That it’s okay to not be okay – and it’s more than okay to talk about it. We want people to leave feeling like they’ve just had a night out with their best mates, where nothing was off-limits. If a bunch of blokes can get naked on stage and talk about testicles, you can probably check in on your mate or open up a bit yourself. 

Hannah Mary Taylor: I hope they take away how important your friends are. How important it is to be open with your friends and to be there for them in times of need and to have a laugh with them when things aren’t looking so good. 

Lewis Gillon: I hope it encourages men to feel heard and listened to. Too many men suffer in silence because they can’t articulate the weight on their shoulders and would feel judged for doing so. I hope it demonstrates how “manly” being vulnerable is and how impactful a healthy conversation about life with friends can be.

Find The Naked Neds on tour at a theatre near you:
23rd of May: Macrobert Arts Centre (Stirling)
6th & 7th of June: East Kilbride Arts Centre (East Kilbride)
13th of June: Cottiers Theatre (Glasgow)
1st – 9th of August: SpaceUK @Surgeons’ Hall (Edinburgh Fringe)
15th of August: The Lanternhouse at Cumbernauld Theatre (Cumbernauld)
29th of August: Rutherglen Town Hall (Rutherglen)
5th of September: 53two (Manchester)

6th of September: The Little Theatre Cleadon (Sunderland)
13th of September: Beacon Arts Centre (Greenock)
19th of September: Three Villages Hall (Arrochar)

CAST AND CREW 

Paul – Lucian Burlingame 

Jamie – Ingram Noble 

Harry – Aidan Curley 

Tony – Barry Morrell 

Bev – Hannah Mary Taylor 

Cammy – Lewis Gillon 

Writer & Director – Ingram Noble