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HOW TO WRITE ABOUT THEATRE
by Mark Fisher

"A perfect introduction to what could be a lifetime of pleasure"
British Theatre Guide

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With a foreword by Chris Jones, Chicago Tribune

 

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9 Dec 2018 The Guardian

Mouthpiece

By Kieran Hurley. A Traverse Theatre review.

KIERAN Hurley’s provocative two-hander is an Edinburgh play in the tradition of Confessions of a Justified Sinner, Jekyll and Hyde and Trainspotting. The Scottish capital is a place of social and geographical extremes, where rich and poor live in close quarters blindly oblivious of each other. As a city, it is sometimes said to be “all fur coat and nae knickers”, the well-to-do haunted by the dirty secrets they try to repress, the less fortunate shoved out of sight. Which means when a middle-class writer meets a working-class artist on Salisbury Crags, they could be talking a different language. Libby (Neve McIntosh) launches into a long speech about her cruel career trajectory from hotly tipped playwright to compromised has-been

image0034 Dec 2018 The Guardian

Mammy Goose/Sleepin' Cutie

By Johnny McKnight. A Tron Theatre/Macrobert Arts Centre review

IS pantomime a reactionary form, mired in tradition and stuck with crowd-pleasing familiarity, or can it also be radical? Johnny McKnight, a one-man panto powerhouse who has been turning out two scripts a year for more than a decade, sees it as popular theatre at its most subversive. He loves the panto trappings – the lurid spectacle, the call-and-response, the dance routines and, above all, the comedy – but tied in with his voracious appetite for pop-culture trivia is a razor-sharp sense of an ever-changing world.

LRGyuriSarossyBonnieBaddooIsobelMcArthurDorianSimpsonPhotocreditMihaelaBodlovic3 Dec 2018 The Guardian

Wendy and Peter Pan

By Ella Hickson and JM Barrie. A Royal Lyceum Theatre review.

PETER Pan is as much a concept as a character. JM Barrie’s boy who would not grow up stands for lost youth and the passing of time but, set against those abstract ideas, his personality is vague – as elusive as his shadow. Living for the moment, he is on a self-absorbed mission to seek excitement but, as a character, he is not yet fully formed. Nor, by definition, does he ever change.In her superb adaptation of the book, first staged at the RSC in 2013, Ella Hickson suggests that behind the swashbuckling, the ticking crocodile and the kidnapping of Neverland, the real dramatic action lies not with Peter but with Wendy.

 

ElizabethNewman17 Jul 2018 The Scotsman

Theatre interview: Pitlochry’s new artistic director Elizabeth Newman plans to take the whole community along for the ride

A Pitlochry Festival Theatre preview

IF YOU want a clue about the incoming artistic director of Pitlochry Festival Theatre you’ll find it in William Blake. On her first visit to the theatre in the hills, Elizabeth Newman kept thinking of a line by the poet. “To the eyes of the man of imagination,” wrote the 20-year-old Blake, “nature is imagination itself.” For Newman, about to move to a theatre embedded in nature, inspiration lies in the landscape. From the salmon ladder and the distilleries to Explorers, the Scottish plant hunters’ garden, she is rooting herself in the environment.

 

 

 

 

 

 

 

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by Mark Fisher

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"Every single page of this book is enhanced by Mark Fisher’s lifelong enthusiasm for, and commitment to, the Edinburgh Festival Fringe – the greatest arts festival in the world."

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Chief executive, Edinburgh Festival Fringe Society

 

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