✭✭✭✩✩ 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.
✭✭✭✭✩ 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.
✭✭✩✩✩ Depths hidden:
Dark and vicious, Andy Corelli’s take on Gorky’s The Lower Depths for Siege Perilous strikes all the right tones at the Hidden Door, but doesn’t always reveal them as clearly as it might.