There’s something unnerving about Theatre Paradok’s To Breathe, at Summerhall until Saturday. Its a feeling which begins pre-show and pervades right through the Edinburgh University company’s hour-long production.
There’s a truth and vulnerability to Leitheatre’s take on Brian Friel’s early pair of conjoined plays, Lovers: Winners and Losers, at the Church Hill to Saturday.
Brutal, witty and sharply observed, Jack Elliot’s new play about small town violence in Midlothian is bundled into the Wee Red Bar with no little elan by Blazing Hyena.
The 2015 Gang Show at the King’s provides more than its quota of fun and entertainment, being reassuringly familiar yet refreshingly original.
✭✭✭✭✩ Wildly macabre:
Halloween may be but a memory, but the Edinburgh University Savoy Opera Group proves that there’s still space for a little of the macabre in town.
✭✭✭✩✩ Not without ambition:
There is an uneven grandeur to King Charles III at the Festival Theatre, which is certainly one of the most peculiar big-budget, ex-West End touring productions to hit Edinburgh recently.
Intriguing, amusing and a little troubling, the Grads’ production of Alan Ayckbourn’s Wildest Dreams upstairs at the Assembly Roxy is extremely accomplished.
The passion and brutality at the heart of Arthur Miller’s The Crucible are brought out in an intense production at the Bedlam which strives just a bit too hard for authenticity.
✭✭✭✭✭ Silence is golden:
The Silent film era is the backdrop for a production of a musical that deserves to be shouted about.
There is a confused and apologetic air to the touring production of The Importance of Being Earnest at the King’s that the efforts of some distinguished performers cannot overcome.