Isabella Heaver’s politically charged play explores a young woman’s descent into power amid fake news, social media, and nationalist politics. Tender family scenes ground the protagonist’s bicultural identity, while her unreliable narration challenges audiences’ assumptions. Though compelling and warmly performed, the confessional style occasionally feels overextended, leaving gender and political identity insufficiently examined.
Allegro’s The Little Mermaid offers a mixed but enjoyable theatrical experience. Emma Clarkson leads with strong vocals and whimsical charm, while Lyndsey McGhee, Emma Dawson, and Zoe Murray excel as the villains. Despite uneven choreography, staging, costumes, and video design, the orchestra delivers a faultless, magical rendition of Menken’s beloved score, making the production worthwhile, especially for families.
Frankie Thompson’s Horrible Things is a confronting clown performance blending comedy, lip-syncing and ghostly figures from British culture. Its laughter repeatedly collapses into uneasy silence, exposing troubling histories beneath familiar icons. Though the satire’s political implications can feel understated, the show remains sharply pertinent, questioning how cultural voices and painful legacies become entertainment.
Lex Joyce’s Zamboni, directed by Anna Whealing, explores trauma, grief, and community after three ice-rink workers witness a devastating event. Strong performances, particularly from Loretta Francis and Samuel Lee Johnston, convey repression, PTSD, and resilience. Though its comedy-tragedy balance remains deliberately uncomfortable, effective design and a hopeful conclusion make the production compelling and meaningful.
Operation Mincemeat, winner of the 2024 Olivier Award for Best New Musical, brings its wildly funny and moving true wartime story to Glasgow’s Theatre Royal. Praised for ingenious writing, energetic choreography, versatile performances and emotional depth, the production balances absurd comedy with tenderness. A phenomenal, heartfelt triumph, it runs until 14 November.
Scottish Opera’s Turandot, conducted by Stuart Stratford and directed by Sir David McVicar, relocates Puccini’s opera to a decaying 1920s theatre. Visually striking and musically powerful, it premieres Alfano’s full original conclusion on a UK professional stage. Despite structural weaknesses, outstanding performances—especially Trine Møller, Victor Starsky, and Hye-Youn Lee—make this gothic production deeply compelling.
National Theatre of Scotland’s ambitious 2027 programme embraces its “theatre without walls” mission through productions, public art, community projects and digital innovation. Highlights include revivals, world premieres, climate-focused THE HERDS, hospital-based creative wellbeing work, grassroots storytelling, and extensive school performances. The season champions Scottish voices while engaging with global issues including mental health, colonialism and environmental change.
From property lines to full-scale war, welcome to One Man's Land, a dark comedy where petty neighbour disputes spiral completely out of control - we spoke with our old Gander, Josie rose Embleton, and One Man's Land director Esther Fernandez Guerra about their sold-out one-woman show.
Dominic Corr praises Matthew Bourne’s The Car Man as a visually striking, intensely physical fusion of Carmen, film noir, and 1960s American melodrama. Set in a claustrophobic garage-diner, its sensual choreography, powerful performances, inventive design, and dark humour create a thrilling tragedy, despite the production’s exhausting violence and relentless excess.
Scottish chamber musical A History of Paper will transfer to New York for a 13-week Off-Broadway run at Stage 42 from 12 February to 16 May 2027. Developed by Dundee Rep and Pitlochry Festival Theatre, the acclaimed two-person romance stars Shirley Henderson and Alan Cumming, charting love through everyday keepsakes.
