by Lara Alier
As I was walking to the theatre, down the St. James Street with my H&M boots, I was overwhelmed by a deep feeling of inadequacy. I was surrounded by tailoring shops, light brown leather shoes and the financial times. It was quite uncomfortable. When I finally made it, it felt better than entering a falafel shop after a night out. The intimate atmosphere of this welcoming theatre was the perfect place to slow-cook a good play.
by Laura Kressly
Over the last few years, Zoo has been quietly building its reputation as a venue, breaking the stranglehold that the Big Four and Summerhall have on high-quality work. With a loose focus on physical theatre and performance, they boast a programme varied in style, but also in quality.
by Laura Kressly
James Rowland’s trilogy about his best mates Tom and Sarah began with Team Viking two years ago on the free fringe. A Hundred Different Words for Love followed, and the story now comes to a close with the funny and tragic process of growing up that begins with donating sperm to Sarah and her partner Emma.
by Laura Kressly
Last year at the fringe, my nearly eight-year relationship fell apart. In order to survive the final stretch of the festival, I put on a brave face and told no one. Already tired and drained but with a week or so still to go, I continued to see shows and write about them, refusing to acknowledge my personal emotional landscape.
by Laura Kressly
Using the word ‘strong’ to describe women and girls is redundant. Putting up with all the trash that women have to deal with as a result of their gender, on top of everything else life throws at them, makes them strong by default. If they are queer, women of colour, disabled, working class, or fall in any other category that others them, this makes them even tougher because life is all the harder.
By Laura Kressly
Who knew one of Shakespeare’s greatest tragedies could be funny? Director and composer Claire van Kampen has tapped into a rare rhythm that sees Iago as a weaselly, clownish man lacking power and finesse, yet still manages to twist Othello into knots. Played by Mark Rylance, one of the finest actors of his generation, his performance is the strongest feature of this production.
by guest critic Amy Toledano
DryWrite and the brilliant Vicky Jones brings us another hilarious and poignant piece about love, relationships and manipulation.
by Laura Kressly
What is ‘romantic’? A candlelit dinner and a bottle of good wine? Or being tied up, gagged and whipped?
To the young couple in dominion, the latter holds the most appeal. But S wants a bit more of the first, and D wants to keep pushing the limits of the second. The men’s love, though genuine, provides a nuanced look at S&M, consent and consequences in this new play by Greg Forrest.
By an anonymous guest critic
Wilton’s Music hall is dressed beautifully by Eleanor Field with a minimalist, grey tone design and little set. This is the Faction’s A Midsummer Night’s Dream, featuring an ensemble of seven actors playing all the parts.
by Laura Kressly
Men are immature and women are cruel.
With this damning premise, D H Lawrence condemns straight couples to lives of vengeful misery. Minnie and Luther are newlyweds, but the cold viciousness of married life has already sunk its claws in. Both feel trapped. Luther’s lack of ambition to progress in his job down the coal pits winds up Millie, who just wants him to love her as much as he loves his mother.
The Play's The Thing UK 