Posts by Scottish Field

Circa: Wolf is an astonishing, feral acrobatic spectacle, says Frankie Reason. ★★★★ Performers snarl at one another from across the stage, negotiating, imitating one another’s movements, and the ‘pack’ repeatedly forms and disperses, repelling any lone wolves that attempt to penetrate the fold.  The choreography is charged with an unexpected intimacy, raw and animalistic, bodies…

Miriam Margolyes is as outrageous as ever in her one-woman show, Margolyes & Dickens: More Best Bits says Frankie Reason.  ★★★★ She doesn’t feel the need to introduce herself – ‘if you don’t know who I am, what the f**k are you doing here?’ – and she’s entirely justified. The audience cheer their approval and…

Raise the Barre is explosive stuff. A must see, it’s truly terrific, says Jeremy Welch.  ★★★★★ It’s graduation day at a dance school presided over by a strict assessor. There are two troupes of dancers here, the female troupe dressed in classical ballet tutus, the male troupe dressed similarly but in an anarchistic way, black…

Dan Tiernan’s abrasive comedy style is at once hilarious and disconcerting, says Frankie Reason.  ★★★★ Dan opens his set with a scream, immediately turns to talk of ketamine, and then proceeds to riff on his divisive style.  ‘Not for everyone this, is it’ he reflects, before accusing the hot-chocolate-drinking Café Nero patrons of stumbling into…

No introductions, no preamble, Glenn Moore is off and running at a hundred miles an hour before he’s even on the stage, says Alister Tenneb. And strap yourself in because he doesn’t slow down for the next hour. ★★★★★ As well as being a regular on radio, Glenn will be recognisable to many from his…

Arthur Hull’s FLOP has charisma by the bucket-loads, Frankie Reason says. ★★★★ Edinburgh-born Australian artist Arthur Hull delivers a musically impressive, engaging, and witty exploration of musical theatre’s greatest flops. Both exposé and love letter, Hull muses on the dubious opening choreography to Carrie, the pitfalls of theatre to screen, the consistently faulty formula that…

Baxter v The Bookies’ script is fast moving and very amusing, says Jeremy Welch. ★★★★ The spot light turns on and there sits Baxter looking exactly as you would expect from a small-time compulsive horse racing gambler, slightly down on his luck but, like all gamblers, believing the wheel of fortune is about to turn…

The award-winning writer, Henry Naylor, is back at the fringe with Monstering the Rocketman and it’s a must see, Jeremy Welch says.  ★★★★★ This production comes after his two award winning plays at previous fringes, Afghanistan is not Funny and Let the Bodies Pile. He doesn’t disappoint with this production. In this play we see…