Dolina MacLennan in Distance Remaining

The Guardian 14 April 2021

Like the virus itself, online theatre has come in waves. For much of its 75-minute duration, Stewart Melton’s play seems to belong to the first – that time last spring when writers were preoccupied with disconnection and loneliness. By the autumn, artists were looking outward and playing with form, which makes Melton’s tale of three lost souls, one of them newly furloughed, feel like it’s from an earlier time.

Except there’s something in the structure of Distance Remaining that suggests a new variant. It is slow to reveal itself and we don’t always know where the digressions are taking us, but this could be the third wave: a Covid play offering the possibility of hope. [READ MORE]

By Mark Fisher

MARK FISHER is a freelance theatre critic and feature writer based in Edinburgh and has written about theatre in Scotland since the late-1980s. He is a theatre critic for The Guardian, a former editor of The List magazine and a frequent contributor to the Scotsman and other publications. He is the co-editor of the play anthology Made in Scotland (1995), and the author of The Edinburgh Fringe Survival Guide (2012) and How to Write About Theatre (2015) – all Bloomsbury Methuen Drama. He is also the editor of The XTC Bumper Book of Fun for Boys and Girls and What Do You Call That Noise? An XTC Discovery Book (both Mark Fisher Ltd).