HOW TO WRITE ABOUT THEATRE
by Mark Fisher
"A perfect introduction to what could be a lifetime of pleasure"
British Theatre Guide
With a foreword by Chris Jones, Chicago Tribune
2 December 2016 The Guardian
By Johnny McKnight. A Tron Theatre review.
IF YOU'RE looking to buy some red glitter in central Glasgow, don’t bother. It’s all been used on Kenny Miller’s set for Johnny McKnight’s latest festive romp. There’s glitter on the walls, glitter on the cue cards and glitter on the outsize frocks. There’s even glitter on the magical herbs.Throw in the shimmering streamers, talking flowers and tumbling locks of hair, and it’s like watching TV with the colour set to max and volume at 11. True, there’s the Glasgow subway scene where it goes all My Fair Lady as the prince and princess of Partick step out with their parasols in black-and-white stripes, but that merely adds to the psychedelic surrealism.
30 November 2016 The Guardian
By Clarke Peters. An Underbelly theatre review.
HOW many songs by Louis Jordan can you name? If prompted, you might remember Is You Is Or Is You Ain’t (My Baby) and his cover of Ain’t Nobody Here But Us Chickens, but for all Jordan’s phenomenal success as a mid-century band leader, and for all his status as the father of rhythm and blues, much of his music can still seem like a well-kept secret. It’s a testament, therefore, to Jordan’s skill as a composer – and to the elan with which his songs are performed – that Five Guys Named Moe is such a happy and accessible show. This is a jukebox musical with none of the familiarity of Mamma Mia! or Never Forget and yet all of the feelgood spirit. It’s a heady celebration of a man you never knew you were a fan of.
28 November 2016 The Guardian
By Johnny McKnight. A MacRobert Arts Centre review
"WEANS in the Wood is about some weans in a wood,” says the voice of Stirling Stella at the start of the show. It has the circularity of “Brexit means Brexit”, but none of the pretence at certainty. Playwright Johnny McKnight knows, however, he’s not the only one who can’t remember the story of Babes in the Wood. His simple solution is to make up his own. To do so, he drafts in fairytale favourites, a la Sondheim’s Into the Woods, for a mix-and-match journey into the dark heart of the Pantosphere. Dawn Sievewright’s excellent Little Red, an ambivalent figure tottering between friend and foe, recalls her early days wearing a riding hood, has an estranged grandmother who lives in a Hansel and Gretel-style house made of sweets, and, after Katie Barnett’s lovable Gretel is bewitched into the dark side like Kay in The Snow Queen, re-emerges as an egalitarian Robin Hood.
by Mark Fisher
"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."
Kath M Mainland
Chief executive, Edinburgh Festival Fringe Society
REVIEWS, thoughts and observations about theatre in Scotland.
ARTICLES about theatre published in the daily newspaper and online
RECENT articles about theatre published in the fortnightly events guide.
SAMPLE articles, reviews and CV by the writer, editor and theatre critic.
FEATURES on a range of subjects, plus some reviews.
REVIEWS, articles and extensive database about Scottish theatre.
REVIEWS and news items about Scottish theatre in the US theatre bible.
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