✭✭✭✩✩ 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.
✭✭✭✭✩ Head and heart:
Informative, intelligent and packing a considerable emotional punch, Edinburgh People’s Theatre’ world premiere of A Guid Cause is subtle, complex and intriguing.
✭✭✭✩✩ Noisy experiment:
It’s hardly silence in which the Ludens Ensemble perform their three person take on Macbeth, seen in its first work-in-progress outing in the Peely Room of the Hidden Door Festival.