Review: KANPUR: 1857 at Tron Theatre, Glasgow
After an Edinburgh Fringe sell-out, Kanpur:1857 came to the Tron in association with Glasgow Mela.
Mary Baillie
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.
Review: BLOOD WEDDING, Chandler Studio Theatre
Tanya Ronder’s adaptation of Federico García Lorca’s Blood Wedding follows the tragic love triangle between the Bride (Saffron Rae), the Groom (Jude Bain) and Leonarda (Rosie Mackay).
Review: LET THE RIGHT ONE IN, New Athenaeum Theatre
Performed fittingly on Halloween, this stage version of Let the Right One In adapted from John Ajvide Lindqvist’s novel and film captures the eerie chill of Blackeberg, Sweden.
Review: BLACK HOLE SIGN, Tron Theatre
Black Hole Sign presents a compelling premise: an understaffed A&E department in disarray, where Senior Charge Nurse Crea (Helen Logan) struggles to steer a failing ship under the immense pressures facing the NHS.
EDINBURGH 2025: Review: RED LIKE FRUIT, Traverse Theatre
Red Like Fruit is a two-hander exploring questions around consent and the suppression of women’s voices in sexual abuse claims.
EDINBURGH 2025: Review: MARGOLYES AND DICKENS: MORE BEST BITS, EICC
After her hit sold-out show at last year’s Fringe, national treasure Miriam Margolyes returns with a brand new piece.
EDINBURGH 2025: Review: LOST LEAR, Traverse Theatre
Advertised as a 'moving and darkly comic remix' of Shakespeare's famous tragedy, Lost Lear retells the play through the eyes of Joy, an elderly dementia patient and former actress trapped in a perpetual memory of rehearsing King Lear for the stage.
EDINBURGH 2025: Review: NOWHERE - HERE & NOW SHOWCASE, Traverse Theatre
Khalid Abdalla (The Kite Runner, The Crown) redefines and reclaims the solo show in a lyrical tapestry where resistance, displacement and selfhood are delicately woven through an avant-garde aesthetic.
EDINBURGH 2025: Review: MARY: A GIG THEATRE SHOW, Gilded Balloon Patter House
Mary: A Gig Theatre Show is a cool concept.
EDINBURGH 2025: Review: THE CRAWL, 10 Dome
Two people.
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