Fraser MacDonald

Fraser MacDonald Fraser's passion for theatre started at the age of two at Glasgow's King's Theatre. He has been writing about theatre for five years and has a particular love for pantomime.

He covers a wide variety of the arts across Scotland and has made appearances on radio and television.



MOST POPULAR ARTICLES
LAST 30 DAYS

BWW Review: DICK WHITTINGTON, Lyric HammersmithBWW Review: DICK WHITTINGTON, Lyric Hammersmith
Posted: Dec. 2, 2018


BWW Review: THE KING AND I, Cinema BroadcastBWW Review: THE KING AND I, Cinema Broadcast
Posted: Nov. 13, 2018


Book Review: NATIONAL YOUTH THEATRE MONOLOGUES, Michael BryherBook Review: NATIONAL YOUTH THEATRE MONOLOGUES, Michael Bryher
Posted: Nov. 26, 2018


BWW Interview: Keith McLeish Talks Panto SLEEPIN' CUTIE at Macrobert Arts CentreInterview: Keith McLeish Talks Panto SLEEPIN' CUTIE
Posted: Nov. 27, 2018


LAST 365 DAYS

CD Review: SI, Andrea BocelliCD Review: SI, Andrea Bocelli
Posted: Oct. 27, 2018


EDINBURGH 2018: BWW Review: THE WEDDING RECEPTION, The PrincipalEDINBURGH 2018: BWW Review: THE WEDDING RECEPTION, The Principal
Posted: Aug. 11, 2018


BWW Review: Little Shop of Horrors, Cumbernauld TheatreBWW Review: Little Shop of Horrors, Cumbernauld Theatre
Posted: May. 5, 2018


BWW Review: THRILLER LIVE, King's Theatre, GlasgowBWW Review: THRILLER LIVE, King's Theatre, Glasgow
Posted: May. 22, 2018


BWW Review: DICK WHITTINGTON, Lyric HammersmithBWW Review: DICK WHITTINGTON, Lyric Hammersmith
December 2, 2018

It's been a decade since the Lyric Hammersmith theatre first brought a panto to their local faithful. Following plucky young hero Dick Whittington, Londoners can expect a heartwarming story that is as funny as it is clever.

BWW Interview: Keith McLeish Talks Panto SLEEPIN' CUTIE at Macrobert Arts CentreBWW Interview: Keith McLeish Talks Panto SLEEPIN' CUTIE at Macrobert Arts Centre
November 27, 2018

Keith McLeish takes on larger-than-life panto dame Fairy B inSleepin' Cutieat Macrobert Arts Centre in Stirling, playing until 31 December.

Book Review: NATIONAL YOUTH THEATRE MONOLOGUES, Michael BryherBook Review: NATIONAL YOUTH THEATRE MONOLOGUES, Michael Bryher
November 26, 2018

With detailed explanatory notes for every piece of its 75-strong compilation, this must-have guide is sure to bolster the confidence of those lining up to take part in the most important minutes of their lives.

BWW Review: THE KING AND I, Cinema BroadcastBWW Review: THE KING AND I, Cinema Broadcast
November 13, 2018

The screened version of this year's Palladium run brings a completely new perspective to the show, not only delivering a true reflection of the live experience but enhancing it beyond any reasonable expectations.

BWW Review: RED, Broadcast In CinemasBWW Review: RED, Broadcast In Cinemas
November 6, 2018

John Logan's Red, which debuted at the Donmar Warehouse in 2009, enjoyed a belatedWest End run at the beginning of this year. As afurther encore, a cinema broadcast of Michael Grandage'sacclaimed production will be screened in cinemas nationwide tomorrow (7 November).

CD Review: SI, Andrea BocelliCD Review: SI, Andrea Bocelli
October 27, 2018

Orchestrations are deliciously rich and offer the impression of a grand concert hall with musicians in fine tune. Si is a delightful little album that allows you to escape into the Italian riviera for an hour or so.

BWW Review: THE WIPERS TIMES, Arts TheatreBWW Review: THE WIPERS TIMES, Arts Theatre
October 23, 2018

Returning to the Arts Theatre in London's West End after a UK tour, The Wipers Times proves that the history of the Great War can be engaging and at times entertaining.

Book Review: BOUBLIL AND SCHONBERG'S LES MISERABLES, Sarah WhitfieldBook Review: BOUBLIL AND SCHONBERG'S LES MISERABLES, Sarah Whitfield
September 9, 2018

The musical phenomenon that continues to take audiences by storm is arguably uplifting and depressing in equal measure. In this new book, Sarah Whitfield explores the audience's relationship with Les Miserables and offers an entertaining dissection of the show's success.

EDINBURGH 2018: BWW Review: FAULTY TOWERS THE DINING EXPERIENCE, The PrincipalEDINBURGH 2018: BWW Review: FAULTY TOWERS THE DINING EXPERIENCE, The Principal
August 25, 2018

Set around a wonderful three course meal, the experience intertwines some of the best of John Cleese and Connie Booth's scripts with innumerable disasters that are carefully orchestrated to keep their audience laughing from start to finish.

BWW Review: TRUMP THE MUSICAL, C VenuesBWW Review: TRUMP THE MUSICAL, C Venues
August 13, 2018

Cue chaos, sweeping political generalisations and very-nearly-almost nudity -Trump the Musical is a mad-cap hour where the only certainty is the uncertainty of what is to come.

BWW Review: GODLEY'S CREAM: 20 YEARS AND COUNTING, Counting House BallroomBWW Review: GODLEY'S CREAM: 20 YEARS AND COUNTING, Counting House Ballroom
August 13, 2018

Her set feels as intimate as speaking to her on a bus; there are no airs and graces. Godley is funny to the bones and her stories are gold.

EDINBURGH 2018: BWW Review: CHRIS FORBES: PROPHECY, Gilded Balloon TeviotEDINBURGH 2018: BWW Review: CHRIS FORBES: PROPHECY, Gilded Balloon Teviot
August 13, 2018

It's safe to say you will never listen to Wonderwall the same again but for a light-hearted exploration of religion, and a little bit of theology along the way, Prophecy is a safe bet for those seeking something more than just comedy this Fringe season.

EDINBURGH 2018: BWW Review: ANNIE, Rose TheatreEDINBURGH 2018: BWW Review: ANNIE, Rose Theatre
August 13, 2018

The chorus of young orphans are a talented young bunch, and paired with the brilliantly boozy Miss Hannigan (Hazel Beattie), they easily rival recent big-budget tours of the show. Sally Lyall's direction shines particular in an early fight scene between the orphans, an example of the attention to detail in this production.

EDINBURGH 2018: BWW Review: Gary Delaney: Gagster's Paradise, Pleasance BeyondEDINBURGH 2018: BWW Review: Gary Delaney: Gagster's Paradise, Pleasance Beyond
August 12, 2018

As one-liner comics go, you'd be hard pushed to find anyone as close to the top of their game as Gary Delaney. Building his following from regular appearances on BBC's Mock The Week, his show has become a beg, steal or borrow ticket at this year's Edinburgh Festival Fringe and it's easy to see why.

EDINBURGH 2018: BWW Review: Kelty Clippie the Musical, Greenside at Nicolson SquareEDINBURGH 2018: BWW Review: Kelty Clippie the Musical, Greenside at Nicolson Square
August 12, 2018

Juxtaposed against the classic folk melody, upbeat dance numbers feel out of place; perhaps some more traditional folk songs could have helped keep this bus on the right route.

EDINBURGH 2018: BWW Review: DON'T TELL ME NOT TO FLY, Underbelly McEwan HallEDINBURGH 2018: BWW Review: DON'T TELL ME NOT TO FLY, Underbelly McEwan Hall
August 11, 2018

Intertwining music with her stories of family, friends and showbiz, this really is a great mix of song and story.

EDINBURGH 2018: BWW Review: PRIVATE PEACEFUL, Underbelly Cow BarnEDINBURGH 2018: BWW Review: PRIVATE PEACEFUL, Underbelly Cow Barn
August 12, 2018

The ability to hold the attention of the audience in delivering a complex, multi-character script with one actor makes this piece a real treat for audiences.

EDINBURGH 2018: BWW Review: THE WEDDING RECEPTION, The PrincipalEDINBURGH 2018: BWW Review: THE WEDDING RECEPTION, The Principal
August 11, 2018

As the peal of wedding bells ring out across Edinburgh's Royal Mile, the sweet smell of success fills the air as Interactive Theatre International bring their riotous farce, The Wedding Reception, back to the Fringe for another year.

BWW Review: LOVE FROM A STRANGER, Theatre Royal, GlasgowBWW Review: LOVE FROM A STRANGER, Theatre Royal, Glasgow
June 26, 2018

Whilst the 1930s may be almost a century behind us, the suspense that this aged text brings rivals that of any psychological thriller on the silver screen these days.

BWW Review: BIRDSONG, Theatre Royal, GlasgowBWW Review: BIRDSONG, Theatre Royal, Glasgow
May 30, 2018

As the centenary of the armistice of the First World War approaches, there is no better time for Sebastian Faulks's Birdsong to be revived once again in its staged adaptation by Rachel Wagstaff.



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