Tag: scotland

Image credit: Beth Chalmers

IN CONVERSATION WITH: Katherina Radeva

Published on by Antonia ConstantinLeave a comment

Bottoms is the newest work from cutting-edge, fearless performance makers Two Destination Language, which makes its World Premiere as part of Dance International Glasgow, 14 – 15 May, 2025. Known for embracing joy on stage, and celebrating the power and movement of non-traditional dance bodies, Two Destination Language’s Bottoms explores the tradition of Can-Can, a dance which first evolved during the Industrial Revolution as a way for workers to escape social norms, let off steam and express themselves through wild displays of physical prowess. We sat down with Co-Director and Performer, Katherina Radeva to learn more about the production.

You describe Bottoms as a space of joy and abandon, but it’s also clearly political. How do you balance those two things—delight and defiance—on stage?

I honestly feel that joy is political. It is a political statement to look for joy in the current global political climate. Claiming a moment of delight is refusing to let the bastards get you down. If politicians don’t have to take their influence terribly seriously, and we’ve seen that in Boris as well as Trump, then there’s a defiance inherent in holding onto joy despite the horrifying impacts of military, environmental and economic misadventure. Those 60 minutes people choose to spend with us – we want them to feel like a release: leaving them entertained and surprised and thoughtful and hopefully with questions about the world we share. The balance is like life – you can’t have light without dark and you can’t recognise the shadows without the light.

The show reclaims the Can-Can from its commercialised, glamourised image. What surprised you most when digging into the dance’s roots and original spirit?

Workers, mostly men, would gather to drink after work and they began to throw some shapes, showing off and letting off steam. This was in opposition to the formally defined social dances of the time. Then, women joined the party by kicking their legs high along with the men. Then, business spotted an opportunity, and welcomed the cancan in their cabarets: they adopted and monetised the popular dance. At the same time Toulouse Lautrec was painting and drawing the girls kicking their legs and then, as now, the theatre management figured that sex sells. For functional reasons, many women’s underwear had an open crotch at the time, and so the high kicks teased audiences with what they might glimpse. So, the cancan was popularised for those who could pay to see the show, and occupy a particular kind of gaze as its audience.

I guess the most surprising thing for us was that men started it. You can really imagine the joy that dancing brought them, at the end of a hard working day. There’s something really delightful about imagining the dance before it was brought into the conformity of an entertainment to be bought and sold.

You mention that none of your dancers would meet the Moulin Rouge’s traditional criteria. How does that shift the energy and meaning of the Can-Can in Bottoms?

Well, none us would! You’ve got to be tall and thin, extremely fit with long legs, tiny waist etc. We are all gloriously different from that. I mean, I am a size 14, 43 year old perimenoposal woman – and I’m reclaiming the dance, remaking it for my body and the glorious group of dancers I’m part of in this.

We have deconstructed the dance choreographically – there is recognisable cancan, but we’re questioning the spectacle, and the gaze that the dance we’re familiar with invites, and the idealised bodies it relies on. At the same time, we’re fascinated by performance, the relationship it creates between an audience member and the people they’re watching. Is there a power dynamic, and how is it constructed? What can we do to play with that relationship? The cancan is a tool which lets us retain a handful of humour while we play with those questions.

This show seems to be in conversation with how we value labour and bodies—especially in performance. As artists in a post-pandemic, burnout-heavy world, what do you want audiences to take away from that?

We are working for you: on stage, in front of your eyes, we’re working. The things we do in the show: those are our jobs. It’s a job we love doing! The delight we take in our jobs (not the endless admin and producing and hoping that our work will be fairly remunerated, but the making and performing) is real, and at the same time it’s something we’re paid for. Paid to do it, and to make it look like we enjoy it so the audience goes away satisfied. People should be paid for their work, and that work should be satisfying. Maybe that comes back to the political, so in this show, we’re working hard for you. But in not being a group of ultra-flexible super-fit people who have trained in musicals (although some of us are some of these things) we are questioning what audiences really perceive and what is of value to that audience. The bodies and labour you see are shaped by years of training and lived experiences; what you see is shaped by the work that went into creating this through rehearsals and before those in planning and researching… Like lots of work, the visible labour is only a fraction of what’s involved.

There’s a lot of humour in your work—why is that important when you’re dealing with topics like capitalism, conformity, and exhaustion?

If we took a melancholic approach, we could just accept defeat in the face of capitalism, and its demand for conformity and its insistence on exhausting us through labour and consumption. Humour can be a really powerful tool: we might not individually have a lot of power (or capital), but we can resist the demand that we take seriously the values of capitalism and its destructive attitude towards nature and people. There’s room for essays and politics, but we want to deal with some of those things by offering something to smile about.

You’re performing in Bottoms as well as co-directing. How does being in the work physically affect the way you shape the show and connect with your audience?

That wasn’t the plan. It turned out we needed another person to make the show work, and so I joined in. It has been hard to hold and carry many hats, and what feels right inside the work doesn’t always look right from outside. Video is a brilliant tool for helping all of us on stage step outside and see what we’re creating. We’re working with a really superb team of performers, shaping lots of the work together. Our process is a bit like sculpture: we’ve got a block of stone and need to let the shape inside it become visible. Sometimes, one area is beautiful but doesn’t match the whole, and we have to reshape or remove it. But also, we’re shaping it to match this company of performers: made with different people, it would look and feel different, and that’s the same with my role in it too. I can’t be in and out at any moment, so more of the design, the conceptual thinking and the composition of the work has taken place between rehearsal weeks – and I think we all benefit from those breaks.

Tickets for Bottoms can be found here.

IN CONVERSATION WITH: Ava Hickey

Published on by Rose-Charles RajLeave a comment

We had an exclusive chat with Ava Hickey, the protagonist of The Kelton Hill Fair, a new production by Wonder Fools. Written by Robbie Gordon and Jack Nurse, The Kelton Hill Fair tells the gripping story of Flora, a teenager from Castle Douglas who runs away and stumbles upon a mysterious fair run by the legendary Billy Marshall ‘The King of the Travellers’ and a place where time stands still.  Ava recently graduated from the BA Acting course at The Royal Conservatoire Scotland. She has worked for The National Theatre of Scotland, Perth Theatre, Wonder Fools and will be appearing in BBC/Netflix series Lockerbie. Ava is also a writer, facilitator and co-founded The Showmen’s Theatre Company.

Flora is a defiant and troubled teenager who stumbles upon a supernatural fair. What drew you to this role, and how did you connect with her journey?


Flora is the type of character that actors can get their teeth into. She’s smart, intuitive and really fierce. At the beginning of the play, she’s pretty lost and is out of places/people to turn to and we get to watch her go on this huge journey. I think that’s relatable – we’ve all felt lost at times. It’s fun for me as an actor to find that journey and to get to play with all the other big and wacky characters on stage as Flo is figuring things out! 

The play blends history, folklore, and modern themes. How do you think Flora’s story resonates with contemporary audiences, especially young people?


I think the play explores the experience of young people in the care system and the pressures on young women today in a thrilling way. It’s also exciting to imagine interacting with figures from the past and to bring them to life on stage. It’s clever to compare the things that have changed or haven’t changed in society – to see it right there in front of you in the theatre. In 2025, we don’t 100% know how people from 1700 or 1800 spoke or how they moved – but to imagine those things/make those choices is fun for the actors playing those roles and satisfying for an audience to watch. The Kelton Hill Fair features Billy Marshall, a figure from Scottish travelling culture – it’s exciting to represent this history on stage today and also offers insight into Scottish folklore. I hope young people will see themselves reflected onstage in Flo’s story, whilst also learning from the historical and folklore elements.

You’ve worked with Wonder Fools before as part of their Youth Board. How has that experience shaped your journey as an actor, and what does it mean to now lead one of their productions?


I joined the WonderFools Youth Board in the Summer of 2021 before I started drama school. The Youth Board is such a unique opportunity – we worked with lots of playwrights on new plays for youth theatres and schools. I don’t think many projects help to develop young makers or creatives and teach dramaturgical skills – and in such a practical way. It was invaluable to developing my practice as a writer and has influenced how I approach script work as an actor too. It’s definitely special now that I’ve graduated from drama school to be working on this show with Wonder Fools as an actor. It’s so full circle! 

The Kelton Hill Fair features a mix of storytelling, movement, and music. What’s been the most exciting or challenging aspect of bringing this immersive world to life on stage?


Working with this team is one of the most exciting things – actors and creatives I’ve admired for years. I first watched Julie Wilson Nimmo in Balamory when I was 4 years old so getting to be on stage with her is so cool! The set and sound design are amazing and we all have a lot of fun in the rehearsal room. Flo doesn’t leave the stage for any length of time at all really, so the most challenging thing for me is knowing that once the train leaves the station then that’s it – we’re off. It’s a big journey and although it’s challenging, everyone is super supportive and it’s exciting to discover it fresh every time. 

With legendary figures like Billy Marshall, Robert Burns, and William Hare appearing in the story, were there any particular moments that felt especially surreal or thrilling to perform


In the play, we see some dramatised depictions of these historical figures. They’re all connected to Dumfries and Galloway, which is where the play is set. 

It’s enjoyable to take people from different decades/centuries and put them in a boiling pot together and see what happens. It’s surreal that every night I get to learn about Billy Marshall, teach Hare about Ant and Dec and hear a brand new Burns poem hot off the press

You’re also a writer and co-founder of The Showmen’s Theatre Company. How does your experience as a performer influence your writing, and do you see yourself bringing more original stories to the stage in the future?

I co-founded The Showmen’s Theatre Company with Yana Harris and Bailey Newsome in 2022. We are all actors and Scottish Showpeople from the travelling fairground. We created the company to make theatre about our specific community and to offer up some positive representation in an entertaining way. Travelling communities aren’t well documented. There are so many fascinating stories untold and we don’t often see ourselves positively represented in the media or on stage. With our theatre company, we plan to help change this – much like Wonder Fools with The Kelton Hill Fair.

The Kelton Hill Fair will be playing at Theatre Royal Dumfries from March 21-22 and at Theatre Tron in Glasgow from March 25-29

Credit to Mihaela Bodhovic

IN CONVERSATION WITH: Liam Rees

Published on by Tabitha JamesLeave a comment

We sat down with Liam Rees ahead of the Scottish premiere of his show The Land That Never Was.

Catch it this March at Capital Theatres (14th March) and the Tron Theatre (21st/22nd March) and for any Irish readers a test run at Dublin’s Scene + Heard Festival on the 15th February 2025.

How would you describe the show, The Land That Never Was?

At its simplest, it’s a storytelling show about Gregor MacGregor who was a conman in the 1800s who sold a country that literally did not exist, while I weave in personal stories from the present day that connect to Gregor. Throughout the show there’s a slideshow that fact checks me and deconstructs all the techniques I use to manipulate the audience. It forces you to question your biases and call bullshit on me. So it’s a show that really puts the audience front and centre – none of it exists without you. 

Why do you feel the story of Gregor MacGregor is important to tell in 2025?

I heard about Gregor’s scam and immediately thought of political charlatans like Trump, Johnson, and Farage who try to sell an idea of the UK and USA that never existed. I found it oddly reassuring to discover there have always been opportunists and victims of misinformation. Because the news moves so rapidly it felt impossible to make a show about contemporary post-truth life but Gregor’s story (despite being 200 years old) felt like the perfect mirror to what we’re living through. 

One of the key themes explored in the show is colonialism. Do you think Scotland’s colonial history is sufficiently analysed and challenged on the country’s stages?

There’s been some great work by writers like May Sumbwanyambe, Hannah Lavery, and Adura Onashile to tackle Scotland’s colonial history but I do wonder why people of colour are constantly expected to educate audiences about their own history of oppression. In The Land That Never Was I try to grapple with the common lie that Scotland was somehow forced by England to participate in colonialism. It’s a lie that I believe holds us back as a country and a refusal to engage with the past makes it harder to forge a new future. 

The show utilises a number of forms, including traditional theatre, storytelling and stand-up – how does this hybridity help explore the topic of the show?

I like using different forms to test the audiences’ openness to manipulation from me as a storyteller. If I stand onstage and say I’m Hamlet everyone knows that’s a fiction but if I say Hi I’m Liam and I wrote this show” there’s more of an expectation that I’ll tell you the truth. It’s fun to mess around with those expectations. 

What do you hope audiences will take away from seeing the show?

I hope they have a laugh, I know I make it sound very worthy and serious but I promise there are jokes! I always want audiences to have fun in the theatre and argue with each other about what it meant afterwards. I’m a big believer that what happens after the show is as important as the show itself. 

What does the rest of the year hold for you – what other projects do you have coming up?

I’m very fortunate to have a busy 2025, though if you’d asked me a month ago I’d have had no idea what was coming up – it’s a very chaotic life! I’m working with the Young Vic in London, experimenting with using mobile phones as storytelling devices in theatre. I’ve also joined Dead Centre, a theater company in Dublin, as an Associate Artist who are supporting me to develop a new show about the police, protest, and propaganda as part of a residency with the Theatres de la Ville de Luxembourg. 

REVIEW: Fever Peach’s Blue

Published on by nmcgarrityLeave a comment

Rating: 4 out of 5.

Bizarre and brilliantly bold: Fever Peach’s idiosyncratic EP about bees, modern life, and Doritos doesn’t fail to entertain.

My introduction to this Scottish band was simultaneously exactly and nothing like what I imagined it would be. Fever Peach’s ‘Blue’ features six post-punk comedy songs ranging from the absurdly contemplative to the fabulously nonsensical. Scott Redmond’s lyrics don’t disappoint once throughout, and the whole album can only be described as having a surreal quality that very few albums have captured before. 

The opening track ‘Fire on a Submarine’ sets the stage for twenty minutes of intense yet comedic lyricism and catchy music. I was surprisingly gripped by the lyrics and the dark humour of WHY the submarine was in fact on fire — Fever Peach blur the line between nihilism and cheer, leaving me questioning at first if this was genius, or just simply batty. (Spoiler: the answer is both.)

I remained mystified by the second, arguably most absurd song in the album, ‘Beard of Bees’. What is it about? Exactly what it suggests. Accompanied by the harmonious humming of many bees, the lyrics portray a man experiencing the highs and lows of, yes, a beard of bees. Wonderfully ridiculous and unique, it is impossible to deny the playability of the song: it’s definitely wormed its way into my playlists. (Or perhaps ‘buzzed’ is more fitting.)

Just as I thought I was getting to grips with the sort of music they created, Fever Peach surprise once again with the candid, bleakly calming song ‘LoFi Chill Vibes’. The wry humour made itself a staple of this song, that itself is reminiscent of spoken word more than anything. Painting an almost-cosy picture of the depressing state of modern life, this third song in the album might be more serious, but Redmond’s lyrical brilliance coupled with Andrew Bullick’s genius music serves as a brief break from the madness of songs before and after.

‘Issues Cosmological’ opens with what seems like another contemplative serious song, only to switch charmingly midway through. The band pose questions about, as the song name suggests, issues cosmological, before flipping the script with a fabulous bit of dialogue between the band and a curious alien. Curious about what, you may ask? Doritos. Specifically the ranch flavour. Ridiculous, but capturing the band’s eccentricity fantastically, it may not have been a stand-out but it definitely places perfectly between the previous song and the next.

Another way the band must be applauded is their ability to touch on different types of absurdity in different songs. With the energy of a 1960s boyband, ‘Jasmine Has The Blues’ deals with a young woman dealing with modern life and depression. Despite the upbeat tune and charming boyband attitudes, Fever Peach depict a painfully realistic picture of the woman’s life, creating a striking contrast that sits somewhere between unsettling and uncomfortably appraising. The lyrics ‘rose tinted, heart-shaped glasses’ don’t just describe Jasmine’s life but the song itself, making it yet another from the EP to end up in my liked songs on Spotify. 

If I had any doubt about the band’s creativity it was put to rest with the last (and lyrically my favourite) song ‘The Paris Jazzman’. Dark, haunting, and unnerving, Fever Peach demonstrate their ability to make skin crawl with their dive into horror. The repetitive instrumental serves as a fantastically creepy backdrop to the frantic search of a man to find the Parisian stranger, and, while I personally wish the song hadn’t ended with an anticlimax, overall the talent that the song displays is impossible to deny. 

If you skimmed the review, let me summarise for you: Fever Peach’s new EP ‘Blue’ is not to be missed, hitting home in a number of ways. While comedic, I applaud their ability to range between topics of horror and depression and maintain their general tone throughout. Wonderfully weird in every way, it’s no question to me that it’s only a matter of time before Fever Peach bring their wackiness to radio stations and other platforms across the nation. 

REVIEWER: Noah McGarrity

In Conversation with: Johnny Pictish

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We sat down for a chat with Johnny, the creative force behind Pictish Trail and the founder of Lost Map, a label and collective he runs from his home on the Isle of Eigg.

Humbug sounds like an amazing festive celebration of music! What’s the vibe you’re hoping to create with this all-day extravaganza, and can you tease any surprises in store?

Cheers! Aye, it’s a regular event for us, and always a merry one!

We’ve had a Christmas bash every year since the label started, back in 2013 – and in 2021 we rechristened it with the name HUMBUG!. It’s a showcase of acts from the label, with a few special guests here and there, spread out over a whole day. One of the most important aspects of Lost Map has been hanging out with the folks that have supported us, our audience – and events like this are a big part of that. It’s a fun way for us to catch up with the label roster, too.

In recent years we’ve started putting on an all-ages element, in the afternoon, so that folks who have young children can come along to the show. As a parent myself, I know how tricky it can be to see gigs – often childcare is too expensive or not easily available, and so we wanted to find a way to involve folks that otherwise might not have the opportunity to see live music that often. All under-12s get in free.

In the evening, we’ve got another show – it’s over 18s only, that one. It goes on until 1am and is definitely a bit boozier!

Since Humbug is a festive gathering, do you sneak in any holiday tunes, or is it more about celebrating the season in your own unconventional way?

There’s usually a few Christmassy songs sung over the day, but it’s not a requirement! It’s more of an end-of-year celebration of some of the music we’ve released. During 2024, we put out vinyl and CD releases with Afterlands, Blind Yeo, Painting, Susan Bear and myself – and we’re all playing at HUMBUG! this year. We’ve got other Lost Map acts on the bill, too including Alabaster dePlume, Gordon McIntyre as well as a special performance from Rozi Plain (which was a secret up until now!). Another member of our roster, L.T. Leif, is putting on a series of sets with their Cozytown Collective, and Afterlands’ member, Jill Lorean, is gonna be doing a full band set of her own songs too.

Lost Map Records started in a caravan on the remote island of Eigg. How has that unique setting influenced the label’s ethos and the music you create as Pictish Trail?

Eigg is a really inspiring place, inhabited by a close-knit community of people with a “can do” attitude. I like living in a remote place, where you have to make your own fun. That DIY spirit is really what fuels Lost Map more than anything else. Over the years I’ve been here, in addition to writing my own Pictish Trail albums, I’ve been able to put on multiple all-weekend festival events, as well as three series of a residency programme, and a collaborative collective album.

With such an eclectic roster of artists on Lost Map, how do you go about curating such a diverse mix of folky dreamscapes, indie rock, and mind-warping psychedelia?

I don’t have a specific set of criteria for what we release on the label, other than it being music that I love, made by people I find easy to talk to. A big part is knowing whether or not Lost Map can help the artist reach a wider audience than they are already doing themselves; if the answer to that is no, we usually pass, and instead try to offer advice on how best to release. I’m more likely to say yes to something if it feels exciting and a bit different to what we’ve released previously, and voices are a big part of that – I like collecting different voices. When I think about any 6 acts from the roster – let’s take Rozi Plain, Callum Easter, Ed Dowie, Alabaster dePlume, Alexia Avina, Susan Bear – I immediately think about how distinct their vocals are, and how recognisably “them” they are. I don’t want to release music that sounds like a carbon copy of somebody else.

Your own music spans so many genres and moods. When you’re writing, do you aim for a particular vibe, or does the Pictish Trail magic happen spontaneously?

I’m not a purist, I’m a fairly limited musician, and I like listening to loads of different stuff – all of which feeds into the music I make myself. I’m lucky in that I’ve been able to make a career out of releasing my own music, being supported by a relatively small-but-loyal audience – so there’s no pressure of expectation, really. So, when I’m writing, it’s mostly about finding sounds I like (a certain drum machine, or a distortion effect, etc), and building songs within that sonic world. It means the songs themselves can be different stylistically, but feel like they are coming from the same place – the instrumentation, and my voice will be the through-line. On my last album, for example, I demo’d the entire thing using the same synth, a bass guitar, my acoustic guitar and a sampler. I’ll take these demos to a producer, and we’ll collaborate to expand upon that sound – I find that part of the process to be really exciting, songs will often transform into something else entirely.

Lost Map has been on the go for over a decade. What’s next for the label? Any big dreams or wild ideas you’re itching to make happen?

We’ve got a membership club called PostMap Club, where folks pay a monthly subscription and receive new music from the label. We’ve been running it for almost 6 years now, and I’d like to expand it somehow, so we could have the budget to take more risks on things, and support our roster of artists more. I’d like to put on more regular events, too – I’m working on a few ideas for 2025.

FEATURE: Traverse announces four new creative appointments

Published on by Tabitha JamesLeave a comment

“Theatre has been the trailblazer for ‘immersive experiences’ throughout history… I’m incredibly excited to work with the Traverse in exploring where theatre can lead us next.” – Adrian Hon

The Traverse Theatre has announced an exciting quartet of creative appointments, each poised to redefine the boundaries of storytelling and stagecraft as the theatre heads into 2025. With a mission to challenge, inspire, and innovate, these new roles bring together a blend of experienced voices and fresh perspectives to shape the future of performance in Scotland and beyond.

The Appointments at a Glance

  • Bryony Shanahan joins as Associate Artist, championing bold new works like Trouble in Spiritland by Paul Tinto and collaborations with Hannah Jarrett-Scott and Lauryn Redding.
    “I’ve had a long relationship with the Traverse… It is a full circle moment to support their incredible work in this new way,” says Shanahan.
  • Adrian Hon, renowned for blending gaming and storytelling, will spearhead the Immersive Creatives strand, including a 2025 panel series.
  • Michael John O’Neill takes on the IASH/Traverse Creative Fellowship to craft a compelling new play about grappling with far-right ideology in personal relationships.
  • Emma Dorfman, in a collaborative doctoral role, will explore the interplay between digital innovation and theatre-making, analysing its past, present, and future.

Why These Roles Matter

As Linda Crooks, Traverse CEO, explains, “In these challenging times, it is essential to have the conversations that inform creative debate… These four specialists bring an essential energy and broad perspective to our programme of work.”

From cutting-edge immersive experiences to tackling socio-political themes and digital innovation, these appointments reflect the Traverse’s commitment to fostering meaningful and impactful theatre that resonates with contemporary audiences.

Looking Forward to 2025

Bryony Shanahan, a familiar face at the Traverse, is ready to return in a new capacity. Having directed acclaimed productions like Enough and Same Team, she aims to amplify the Traverse’s hallmark boldness. “I am immensely excited to collaborate… to further the impact of The Traverse’s work through exhilarating, hilarious, and heartfelt stories,” she shared.

Adrian Hon brings his expertise in immersive storytelling, honed through award-winning projects such as You’ve Been Played. Reflecting on the theatre’s potential, Hon remarked, “I’m incredibly excited to work with the Traverse in exploring where theatre can lead us next in the rapidly-growing immersive universe.”

Building Bridges Between Academia and the Arts

Michael John O’Neill, acclaimed for This is Paradise, will delve into a deeply personal and political narrative for his new play. His work, supported by the Traverse’s long-standing partnership with The University of Edinburgh’s Institute for the Advanced Studies in the Humanities, aims to explore themes of conspiracy theories, inequality, and hope. “Michael’s state-of-the-nation drama… offers a fearless look at some of the most pressing issues facing our society today,” said Professor Lesley McAra.

In another academic collaboration, Emma Dorfman’s PhD research will investigate how digital technologies intersect with live theatre, offering potential new pathways for performance-making and audience engagement.

An Eye to the Future

Gareth Nicholls, Traverse Artistic Director, summed up the importance of these appointments: “Together these four appointments sum up the Traverse’s work; from supporting the creation of new works… to stretching and challenging the genres of writing we contribute to in Scotland.”

Traverse Theatre’s 2025 line-up isn’t just about performances; it’s about progress. Stay tuned for stories that promise to redefine theatre as we know it.

Unlocking Creativity Across Scotland: New report highlights Traverse’s Class Act’s transformative impact

Published on by Tabitha JamesLeave a comment

The Traverse Theatre has unveiled an exciting new report showcasing the remarkable success of Class Act on Tour, a groundbreaking program that brought creativity into classrooms across Scotland. With over 400 young participants from diverse communities in Aberdeenshire, Ayrshire, Edinburgh, Inverness, Mull, and Dumfries & Galloway, the program has demonstrated how arts education can profoundly transform young lives.

Empowering Young People Through Creativity

The report celebrates the outcomes of 257 workshops delivered in 33 schools, where students explored creative writing, playmaking, and performance. These activities, led by professional theatre-makers, resulted in 149 original scripts, songs, and films, offering a powerful platform for young voices.

Teachers were enthusiastic about the impact:

  • 94% of students reported increased confidence in creative writing.
  • 97% felt more knowledgeable about theatre.

This initiative reached students from rural areas and communities facing high levels of deprivation, proving that creativity can thrive anywhere with the right support.

The Jotter: Sustaining the Legacy

A standout feature of the program is The Jotter, a digital library of creative resources developed by leading Scottish artists. This innovative tool enables teachers and students to continue incorporating arts-based learning into everyday education, ensuring the program’s impact extends far beyond the workshops.

Collaboration and Impact

Supported by the Paul Hamlyn Foundation and other valued partners, Class Act has connected schools with local venues like Aberdeen Arts Centre and Ayr Gaiety Theatre to promote ongoing participation in theatre and creative activities.

Gareth Nicholls, Artistic Director of the Traverse Theatre, reflects on the journey:

Class Act has been such a vital part of the Traverse’s work in Edinburgh, unlocking the immense creativity in our young people and opening up opportunities to them to build their confidence and have their voices heard. Being able to take this out across Scotland for the first time has been a hugely rewarding and inspiring exercise.’

From Report to Stage

As a testament to the program’s success, Edinburgh’s Class Act Winter Showcase 2024 will bring the creativity of students from Firrhill High School, Trinity Academy, Tynecastle High School, and Intercultural Youth Scotland to life on 12 & 13 December at the Traverse Theatre. These performances, developed with professional theatre-makers, promise to be a celebration of the young talent nurtured through this transformative program.

For more details on the program and its outcomes, visit the Traverse Theatre website.

In Conversation With Farah Saleh

Published on by Tabitha JamesLeave a comment

We sat down with dance artist Farah Saleh to talk about her upcoming work The World We Share, created in collaboration with the company of artists. Bringing together a multi-generational ensemble of performers, the work asks:

‘How do we solve individual and collective problems together?
Can we do it together, even though we are all so different?’

Through a series of playful, and sometimes, poignant propositions the ensemble proposes ways we might better act in solidarity with one another, share our resources and attend to seemingly unsolvable problems through collaborative effort, collective encounter and shared experiences. The performance sees Farah Saleh as Choreographer and Director, with performers Diane Mitchell, Jack Anderson, Jazmina, Kieran, Nala, Phoebe and Surya. It hosts a multi-generational ensemble, for a multi-generational audience.

How did you approach translating complex themes like personal and collective problems into movement in The World We Share?


I usually start by presenting tasks that are undertaken in a collaborative way.

Firstly, I ask the young artists and adults to look into themselves individually to explore their own issues, problems or thoughts. We then share them in a group, to decipher how we will transform these thoughts into movement.

I may give them tools in the warm up sessions, such as gestures, texts, songs or props, to decide how they will transform their idea into movement language but, at its root, it is problem solving as I don’t tell people how to do things.

The performance features both young people and adults from diverse backgrounds— how did their different experiences influence the choreography and storytelling?

All the input comes from the artists themselves, so the whole performance comes from their diverse backgrounds – whether that’s age, ethnicity or social background.

All of this influenced the content of the performance because they are bringing their own input to the work, and I am just putting the fragments and the mosaic together.

What role does collaboration play in your creative process, and how did working with your collaborators shape the final outcome of this project?

It’s a collaborative process from the beginning until the end. This is from the warm-up, through to the rehearsals, and to the performance itself.

We propose ideas, thoughts and movements that we compile together until things become fixed. This happens when I propose a structure, which sometimes works and sometimes doesn’t. In this process I always take suggestions from everyone in the room, so it really is a collaborative process from start to finish.

In The World We Share, the performers explore the idea of solving problems together despite differences. What challenges and breakthroughs did you and the performers face during rehearsals in relation to this theme?

There are challenges and breakthroughs throughout the process.

We explore 3 themes in particular – ageism, ableism and authority. Whilst we may have had similar views in reference to some areas, our experiences were different. For example some of us are older, some of us live with disabilities, some of us do or don’t have authority in life.

We had to navigate all of our feelings related to these areas, whilst staying together to create The World We Share. As a performance, we invite audience members into the world we have created where navigation of feelings and tensions is the norm. In the end, it’s about how we work together to make it work.

As a Palestinian dance artist, how do your cultural roots influence your work, particularly in a piece that emphasises diversity and collective action?

Being a Palestinian dance artist very much influences my work, especially during the genocide. We started working together 2 weeks after the genocide so my head wasn’t in Scotland, as it was in Palestine. As soon as the young artists came into the room however, they really helped me reground.

We had to work together to create this world we were creating. It is a proposition of a world that starts from where we are in Scotland to an alternative, that collectively explores individuality and being passive. It explores a world where we can be a collective and negotiate things together, even if there is difficult conversations or tensions on the way.


The World We Share will have its world premiere on Friday 18 October at Assembly Roxy in Edinburgh with performances at 11am and 2pm, before transferring to James Arnott Theatre in Glasgow with performances at 12pm and 3pm.
https://www.farahsaleh.com/the-world-we-share 

In Conversation with Fraser Scott

Published on by Tabitha JamesLeave a comment

We sat down with Fraser Scott, writer and director of Common Tongue.
Fraser Scott is a director and writer from Paisley. Fraser is passionate about creating theatre that can’t function without an audience, and developing work that interrogates identity, class and language. 

1. How would you describe the show, Common Tongue?

Common Tongue is a play aboot imperfect Scots. A fast-paced and quick-witted monologue play exploring the impact of language, identity and their intersections in Scotland.

Common Tongue follows a young woman called Bonnie as she grapples with how she’s perceived, how she is able to communicate and what part of her culture she can be proud of. It’s about family and coming of age, looking at how you find your sense of self and sense of home when you have to encounter the rest of the world.

2. What can you tell us about your role in the production?

I am the writer and director of Common Tongue. Directing my own writing isn’t something I always want to do, but the creation and development process for the play always felt like I was building the whole show in my head, not just the text, so it’s both equally exciting and challenging to now be bringing that all together in the room.

3. Why did you choose to explore language and identity through theatre?

Common Tongue should be a conversation between our character and the audience, and theatre is always the best tool to facilitate that. There’s an immediacy to that, more than any other form. When someone on stage poses a question, there’s almost a requirement for the audience to consider that question for themselves. The ability to let words hang in the air, in a shared space, is incredibly engaging. I think theatre can highlight the poetry and power of language as not just a tool for communication, but as a force of nature – especially when performed by the right actor. 

4. Common Tongue is described as being about imperfect Scots – why is this important to highlight?

I think sometimes there can be an attitude of gatekeeping in Scottish culture; not just around language but more generally about our identity – not Scottish enough, too Scottish, Scottish but cringe. I think it’s important to ask ourselves where we draw lines in the sand in our own culture; and if that does any damage to our collective national identity. It’s a knotty and long-storied journey, but I believe it is one that the play grapples with in an accessible way.

5. What does being Scottish, particularly when creating and performing work, mean to you?

I think it’s an inescapable part of my artistic DNA. I don’t want to box the work I make in as always being the capital S “Scottish brand”; I think the second that becomes the crutch that props up your work you very quickly start to run out of things to say. That being said, the responses I have in all my work are undeniably influenced by growing up in Paisley. 

What excites me about this piece is that it is a central question of Common Tongue; what does being Scottish mean to you? It’s a question I’ve been able to explore through the play, and question how much we lean into or embrace that identity. I always want to hear real Scottish voices on stage, and that feels like a driving force in my approach to making theatre.

6. What do you hope audiences will take away from seeing the show?

The play advocates for being sure in your own voice; not feeling like you have to change or adjust it, so it would be great if audiences take that with them. I hope that they recognise some part of their own lives in Bonnie’s journey or dilemmas, and push against the urge to be less themselves.

7. What are your future plans, either for Common Tongue or other projects?

This first outing for the play has always been with the ambition to take it further afield. Our hope is that Common Tongue will be able to tour Scotland, and speak to people in every corner of the country. 

REVIEW: RED

Published on by omarydawnLeave a comment

Rating: 3.5 out of 5.

RED by the Scottish Young Opera is a captivating modern twist on Little Red Riding Hood, featuring outstanding performances and clever storytelling.

RED by the Scottish Young Opera is a delightful, modern twist on tales from the brothers Grimm. As someone who grew up reading Grimm’s fairy tales, I was particularly excited to see how this production would bring the story to life. I wasn’t disappointed. The show is a fascinating mix of old and new that kept the audience engaged and entertained throughout.

One of the best things about this show is the set design and lighting. They used minimal props but in really creative ways, making the most of every piece. The lighting was just perfect, creating a mysterious and magical atmosphere that pulled you right into the story. These elements were cleverly woven together to enhance the storytelling without overshadowing it.

The music was fantastic. The young musicians were incredibly talented, playing with a skill and passion that was truly impressive. The mix of traditional opera with modern sounds worked really well and added a lot to the overall feel of the show. The orchestra’s performance was a highlight, providing a rich, textured soundscape that elevated the entire production.

The cast was also outstanding. The actress playing Little Red did an amazing job. She brought so much emotion to her performance, and her singing was beautiful. Fox and El Rose brought so much energy and humor to their roles, making the audience laugh out loud several times. Their performances were definitely highlights of the show and added a wonderful, playful, yet sinister element to the narrative.

RED had a good balance of serious and funny moments. The humor was spot-on and provided a nice contrast to the darker themes of the story. I especially enjoyed how the modern storytelling brought fresh perspectives to the classic tale. It was fascinating to see familiar elements of Little Red Riding Hood transformed in new and inventive ways.

However, the pacing was a bit uneven. For a show that’s only an hour long, there were moments that felt slow and clunky. Some scenes could have been a bit tighter to keep the momentum going. Despite this, the overall production was engaging, and these slower moments didn’t detract too much from the experience.

Despite these minor issues, RED is a wonderful showcase of young talent. The musicianship is top-notch, and the innovative use of props and lighting adds a lot to the experience. It’s clear that a lot of thought and effort went into this production.

In short, RED by the Scottish Young Opera is a fun, engaging, and at times, laugh-out-loud funny take on a classic story. The clever blending of traditional and modern elements, combined with outstanding performances and musicianship, makes this a show well worth seeing. If you love fairy tales and enjoy innovative storytelling, RED is definitely for you.