Grant O’Rourke
Kidnapped
★★★★★ Rattling adventure
Isobel McArthur has excelled herself in her latest adaptation of a classic story to the stage, this time giving Robert Louis Stevenson’s Kidnapped a music-filled, comic and heartfelt makeover.
PPP: I’m Dissolving My Love In A Bath Of Acid
★★★☆☆ Absurd
Oozing with comic brio, I’m Dissolving My Love In A Bath Of Acid at the Traverse is a wonderfully performed and energetic if ultimately superficial piece.
An Edinburgh Christmas Carol
★★★☆☆ Comedy overshadows pathos:
An Edinburgh Christmas Carol, the Lyceum’s Christmas re-invention of Dickens, is a full-on comic display that is undoubtedly pleasing despite apparently missing some important points.
Tartuffe
★★★★☆ Great comic timing
Young Critics Scheme review
Tartuffe at the Assembly Rooms is Liz Lochead’s new, shortened version of her adaptation of Moliere’s 17th century play into Scots.
The Belle’s Stratagem
★★★★☆ Exemplary comedy:
Vivacity, wit and downright stupidity abound in The Belle’s Stratagem at the Lyceum, a production of verve and cheek that produces as much laughter as anything seen on the Edinburgh stage in recent years.
Jocky Wilson Said
★★★★☆ I’m in heaven:
Blessed memories of a Scottish sporting legend are evoked superbly by Grant O’Rourke in the Gilded Balloon’s Jocky Wilson Said.
CATS Citations
The winners and the critics’ citations in full:
The Royal Lyceum dominated the awards at the Critics Awards for Theatre in Scotland, held at the Glasgow Tron theatre on Sunday 14 June 2014.
Edinburgh dominates CATS
All but one Critics’ award for Edinburgh companies:
The Royal Lyceum has triumphed at this year’s Critics Awards for Theatre in Scotland, with three productions winning a total of six gongs between them.
The Venetian Twins
★★★★☆ Double the fun:
Broad, finely honed and never afraid of a corny joke, The Venetian Twins is a huge, rip-roaring thing. It is all rather silly, but is none the worse for that.
Review – The Agony And Ecstasy Of Steve Jobs Revisited
Is this a play or a TED Talk re-enacted? It is a compliment both to the quality of the writing by American monologist Mike Daisey and to the performance by Scottish actor Grant O’Rourke that it is so easy to forget that it is the former.
