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by Mark Fisher

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British Theatre Guide

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With a foreword by Chris Jones, Chicago Tribune





2 May 2018 The Guardian


By August Strindberg and David Greig. A Royal Lyceum Theatre review.

IF the men’s rights movement is looking for a spokesman, it could do worse than Gustav in August Strindberg’s three-hander, adapted in 2008 by David Greig and given a scintillating revival by Stewart Laing. He is the spurned lover who wheedles his way into his ex-wife’s new marriage while pushing a doctrine of male superiority and female deference. It’s not exactly that the arguments are persuasive (in the age of #MeToo, they raise the occasional laugh), but Stuart McQuarrie’s Gustav is slimily plausible. Looking like the playwright himself, complete with quiff and buttoned-up jacket, he remains cool and moderate as if to suggest his views about emasculation and the dangers of free-thinking women are the consequence of reasoning not vested interest. He is both creepy and charismatic.

KirstyStuartPhotoMihaelaBodlovicWriterFrancesPoetDirectorZinnieHarrisDesignerFredMellerComposerMJMcCarthyLightingDesignerKaiFischerAssistantDirectorIslaCowan15 April 2018 The Guardian


By Frances Poet. A Traverse/NTS theatre review.

WHEN Iago causes Othello to doubt himself, it only takes the slightest trigger for the seed of jealousy to take root. It’s the same in Frances Poet’s Gut, except what gnaws away at Kirsty Stuart’s Maddy, turning her from a sparky young mother into a neurotic creature of violent intent, is the possibility – just the possibility – that her toddler, Joshua, has been abused by a stranger. The evidence is as circumstantial as Desdemona’s misplaced handkerchief, but such is her protective instinct – initially supported and sometimes exceeded by Peter Collins as her even-tempered husband – that she starts to see danger everywhere.

LongDaysJourney19 April 2018 The Guardian

Long Day's Journey into Night

By Eugene O'Neill. A Citizens Theatre review.

THE Connecticut summer house of the Tyrone family in Eugene O’Neill’s autobiographical classic is usually realised as a solid architectural feature, bulky and permanent. Not so in Tom Piper’s design for Dominic Hill’s bruising revival, a co-production between Glasgow’s Citizens and Manchester’s Home. His set is a skeletal outline, just scaffolding, precipitous staircases and transparent walls. It looks provisional and unfinished – unattractive even – and it has an alarming effect.


27 Sep 2017 The Guardian

Drinking and thinking: raise a glass to Glasgow's plays, pies and pints

A Play, a Pie and a Pint review feature

IT defies all the rules of theatre marketing. Scarcely past midday on a Monday lunchtime, a full 45 minutes before curtain up, the queue for the box office is already snaking on to the road. Inside Òran Mór, a spacious pub-cum-performance venue in Glasgow’s West End, the line of ticket holders is even longer. They are here for A Play, a Pie and a Pint, a lunchtime series launched by David MacLennan in 2004 and not so much a success as a phenomenon. Nobody could have predicted its popularity back then, but today is typical. They line up like this six days a week for 40 plays a year (plus summer and winter pantomimes), almost all of them new with just a handful of classical adaptations. The tally to date is in excess of 400, making A Play, a Pie and a Pint a bedrock of the Scottish theatre industry.









by Mark Fisher

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