Mary Baillie
Latest Articles
EDINBURGH 2026: Review: CHAMELEON; MIRAGE, Muse At Braw Venues
Third-culture kid (half-Turkish, half-English, raised in Indonesia) and ex-teacher Lucy Idil Jordan presents an intimate piece exploring what it means to constantly blend in across different cultures (hence the chameleon analogy) and the universal human desire for groundedness.
EDINBURGH 2026: Review: DRACULA: LUCY'S DREAM, Lennox Theatre @ EICC
Acclaimed French-Norwegian company Plexus Polaire has created an unnerving masterpiece, reimagining one facet of Bram Stoker's classic novel: the seduction of young Lucy Westenra by the overpowering, terrifying Dracula.
EDINBURGH 2026: Review: COMMON TONGUE, Netherbow Theatre @ Scottish Storytelling Centre
Written by Fraser Scott, Common Tongue is a play aboot imperfect Scots.
EDINBURGH 2026: Review: TINY PLANET, King Dome @ Pleasance Dome
After the success of their previous Fringe show Breathe, theatre company Half a String return with their latest piece Tiny Planet.
EDINBURGH 2026: Review: LANDSFRAU, TechCube 0, Summerhall
The 2021 fall of Kabul marks the epicenter of LANDSFRAU, an explosive autofictional solo piece where solo artist Mariann Yar reclaims her relationship to Afghanistan.
EDINBURGH 2026: Review: PLANET OF THE GRAPES – AN EPIC, TABLETOP, SCI-FI ADVENTURE!, Below, Pleasance Courtyard
Having wowed audiences at a sold-out NYC premiere, this inventive puppet parody lands at the Fringe as the ultimate piece of eco-friendly family fun.
EDINBURGH 2026: Review: A FOOT IS NOT AN APPROPRIATE PRIZE FOR THE TOMBOLA at Attic, Pleasance Courtyard
Avid churchgoer Lydia has organized a charity tombola at her local church, but there is a major snag: a severed foot turns up inside one of the tombola prizes.
EDINBURGH 2026: Review: THE MAN WHO THOUGHT HE KNEW TOO MUCH, Forth, Pleasance Courtyard
Having consistently wowed Fringe audiences, Voloz Collective returns with a welcome revival of their hit show 'The Man Who Thought He Knew too Much' - an undisputed masterclass in physical theatre.
Review: THE TRAGEDIE OF MACBETH, Chandler Studio Theatre
Staged by the MA Classical and Contemporary Text students at the Royal Conservatoire of Scotland, Marc Silberschatz’s adaptation of The Tragedie of Macbeth is certainly ambitious.
Review: KANPUR: 1857 at Tron Theatre, Glasgow
After an Edinburgh Fringe sell-out, Kanpur:1857 came to the Tron in association with Glasgow Mela.
Review: NORA: A DOLL'S HOUSE at Chandler Studio Theatre
Few plays have sparked as much controversy as Henrik Ibsen's A Doll's House.
Review: THE SPY WHO CAME IN FROM THE COLD at Theatre Royal Glasgow
Initially a 1963 novel by John le Carré, The Spy Who Came in from the Cold sneaks into Glasgow this week in a fresh new stage adaptation .
Review: RELAY at Traverse
After a critically acclaimed 'must see' at the Edinburgh Fringe, Leila Navabi brings her solo 'punk musical' Relay to the Traverse - this one races ahead with heart and humour.
Review: NIGHT WAKING at Citizens Theatre
Night Waking follows Anna, an Oxford academic living on a remote Hebridean island with her husband Giles and their two young children.
Review: SUNNY AFTERNOON at Edinburgh Playhouse
1960s rock band The Kinks never reached the towering commercial heights of The Beatles or The Rolling Stones, but Joe Penhall’s jukebox bio-musical Sunny Afternoon argues that their turbulent journey to stardom was no less dramatic.
Review: INSPECTOR MORSE: HOUSE OF GHOSTS at Theatre Royal Glasgow
Inspector Morse: House of Ghosts brings the iconic TV detective to the stage in a new original mystery.
Review: FLIGHT, Citizens Theatre
Vox Motus challenge theatrical conventions in their groundbreaking international hit Flight showcasing at the Citizens in Glasgow until the 7th of April.
Review: AMÉLIE at New Athenaeum Theatre
The Royal Conservatoire of Scotland embraces playfulness in this quirky production of Amélie based on the 2001 French film by Jean-Pierre Jeunet.
Review: TOP HAT, Glasgow Kings Theatre
Top Hat tap-danced its way into Glasgow this week, bringing with it plenty of sparkle and some superb performances.
Review: SWEENEY TODD, New Athenaeum Theatre
Sweeney Todd arrives at the Royal Conservatoire of Scotland this December, where director Aaron Lee Lambert delivers a humorous, witty, magically ridiculous and thought-provoking take on Sondheim’s challenging musical.
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