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.
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.
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.
The Edinburgh People's Theatre presents Yasmina Reza's "Art" at the Scottish Storytelling Centre, exploring art and friendship among three friends. Despite a few pacing issues, the actors' strong dynamics enhance the experience. The production cleverly balances drama and humor, resulting in an entertaining portrayal of complex relationships.
Anthony Almeida’s Othello at The Citizens Theatre offers a compelling exploration of themes like technology, warfare, and racial tensions amid its stark setting. With standout performances, especially by Phoebe Smyth as Desdemona, the play highlights the complexities of love and tragedy in a modern context. Othello runs until November 7th.
The Edinburgh Graduate Theatre Group presents a comedic adaptation of Gogol's "Dead Souls" at Pianodrome, directed by Hannah Bradley-Croall. The performance showcases Chichikov's absurd quest for dead serf deeds amidst eccentric characters. While technical elements occasionally falter, the ensemble's strong performances and humor keep audiences engaged throughout the two-hour show.
