Reviews from All Edinburgh Theatre’s new writers
This August, All Edinburgh Theatre is proud to be taking on four young Edinburgh-based reviewers in a new mentoring initiative.
✭✭✭✭✩ Loves me true
Crisp, knowing and contagiously fun, Love Me Tender thrusts and gyrates its hips upon the Playhouse Stage for a week-long run as part of its UK tour.
Mancub: ✭✭✭✩✩ Complex
The Children: ✭✭✭✭✩ Stylish
Children are at the heart of both the drama and the performance of this year’s Summer on Stage double bill, but the Lyceum Youth Theatre are anything but childish in their delivery.
✭✭✭✩✩ Fury and fear:
The National Theatre of Scotland’s adaptation of Muriel Spark’s The Driver’s Seat has a righteous fury, combined with a drive born out of cleverly harnessed technology and a tight ensemble.
✭✭✭✭✭ Cult classic:
Based on Frank Wedekind’s 1891 German play about repressed sexuality and its manifestations, Spring Awakening gets a a surprisingly refreshing production from MGA that mixes 19th century Germany with rock music. And does so exceptionally well.
✭✭✭✩✩ Impressive energy:
Accomplished, athletic dancing and clever staging are present and correct in The Car Man. However, it lacks the emotional punch to be an unqualified success.
Hugely – if inconsistently – funny, but lacking real dramatic impact, Yer Granny at the King’s is certainly crowd-pleasing but does not seem destined to linger long in the memory.
✭✭✭✩✩ Visually stunning:
Opera North’s production of Rodger and Hammerstein’s Carousel is a curious combination of drama, dance and song that on occasion both hits and misses the mark.
Working the surprise factor to great effect, Showcase rises to the challenges of staging a big choral show on the King’s stage with significant success.
✭✭✭✭✭ Feisty fighting:
Dolly West’s Kitchen tells the tale of war: war between countries, war within families and the personal wars everyone fights. Leitheatre’s production at the Studio is feisty, fun and it certainly grips and entertains.