Big Live’s adaptation of Dracula, directed and choreographed by Joel Burke, is a visually captivating but flawed ballet. The production highlights the relationship between Dracula, Mina, and Jonathan Harker, but suffers from pre-recorded music and inconsistent lighting. Abbey Hansen's performance as Mina stands out, yet the adaptation's limited focus leaves much to be desired.
Boys Don’t Dance, choreographed by Marc Brew, explores identity through movement, blending personal memory and societal pressure. The performance is marked by dynamic partnerships, innovative choreography, and a commitment to inclusivity, providing a compelling narrative about evolving self-expression.
The review of "In Time," a co-production by Teater Refleksion, highlights its unique focus on patience and subtlety in storytelling. The narrative follows characters A and O as they nurture a plant, symbolizing personal transformation alongside growth. The production excels in crafting an emotional and visually restrained experience, engaging audiences without overt moralizing.
"Cringe," written by Ross MacKay and directed by Joe Douglas, explores the challenges of high school through humor and authenticity. Drawing from personal experience, the play transforms adolescent embarrassment into universal themes of identity and resilience. With strong performances and clever design, it engages both young and older audiences, delivering a powerful message about vulnerability as strength.
Mirkids, performed at The Studio Theatre, captivates young audiences with its innovative choreography and visual storytelling. Featuring eight dancers in a cylindrical structure, the piece invites interpretation through movement and mirrors, encouraging imagination while balancing gentle humor and striking visuals. A unique addition to the Edinburgh International Children's Festival.
https://youtu.be/UJauIdT61ds Original Choreography & Direction for Pas de Dieux by Gene Kelly Additional Choreography & Scenario by Christopher Hampson CBE Artistic Collaboration by Patricia Ward Kelly Review by Dominic Corr Scottish Ballet ★★★★★ No matter hwo often some may think them separate siblings, cinema cannot keep but slipping a side-step into the space of it’s … Continue reading Review: Starstruck – The Theatre Royal, Glasgow
Review by Dominic Corr Three60 ★★★★ Bodies enter the space already marked by memory. Before a single lift or suspension takes hold, World’s Evolution establishes its central question through movement alone: not how far we’ve travelled, but what we’ve carried with us along the way. Three60’s ambitious, richly layered production unfolds as a physical meditation … Continue reading Review: Three60: World’s Evolution – The Studio Theatre, Edinburgh
Written by Henry Lewis, Henry Shields, and Jonathan Sayer Directed by Matt DiCarlo Review by Dominic Corr The Festival Theatre ★★★★ The festive season often brings with it a parade of Dickens adaptations, each promising warm familiarity, heartfelt morality, and a sprinkling of theatrical snow. Ans yes, February counts as the festive season – at … Continue reading Review: Christmas Carol Goes Wrong- The Festival Theatre, Edinburgh
Lead Performance by Julia Taudevin Bouffon Direction by Tim Licata The Tron Theatre ★★★★ With current polling across the UK set for an profoundly unsettling tipping of the scales for the next general election, it’ll take more than a spoonful of sugar to make this much needed medicine go down – as a revolting death rattle … Continue reading Review: Auntie Empire at Summerhall, Edinburgh – A Darkly Comic, Bouffon-Laced Reckoning
Performed and created by Ninon Noiret Directed by Ninon Noiret and Camille Marmié The Studio ★★★★ For one evening only, Manipulate plays host to a few side-walkers, as a strange, gallows-rich humour, and tender pulse runs through The Studio Theatre as The Raft of the Crab delivers a fusion of puppetry and physical theatre that … Continue reading Review: The Raft of the Crab – The Studio, Edinburgh
