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Thanks for Being Here

Tron Theatre, Glasgow Four stars A good night out at the theatre comes with a minefield of expectations. Most of these are confirmed as much as they are upended and reimagined in Flemish mavericks Ontroerend Goed’s latest wheeze investigating the felicities of human behaviour and the everyday performance that goes with them. This is done here in Alexander Devriendt’s typically playful production in a way that charms and disarms as the spotlight is turned on the audience. Fret not, however. No one has to do anything, even as we find ourselves staring back at each other as we are cast as the show’s main protagonists and silent partners in everything that follows. Forget any ideas about audience participation. This is a partnership in telling a different story every time. First seen on the 2025 Edinburgh Festival Fringe, as with all their shows, Ontroerend Goed’s gentle exploration of ways of being relies on the complicity and trust of those who have ...

Do Not Pass Go

The Studio, Edinburgh Three stars If property is theft, there are few better illustrations of legitimised greed in action than a good game of Monopoly. As otherwise unassuming friends and family cosplay ruthless toy town billionaires on the backs of their nearest and dearest who land on their ever expanding empires, there is a wannabe landlord, it seems, within us all. Beyond the game itself, there is a tale to tell of the real life rip-off merchant who stole a once egalitarian idea and took it to the highest bidder. This is the story shown off here in Jordan & Skinner’s playful pop culture history lesson, in which we learn how early twentieth century free thinking games designer and political activist Lizzie Magie devised what she called The Landlord’s Game. This was to be an educational tool to explain the progressive economic ideas of economist Henry George and the perils of monopolisation. When fellow games designer Charles Darrow stumbled on Magie’s creation...

Lune

Òran Mór, Glasgow Five stars When a young woman turns up on the steps of the Brussels courthouse intent on putting the state on trial for crimes against women, the odds of victory look hopeless. The woman’s name is Lune, and as her determination makes clear as she sets herself in for the long haul, she isn’t going anywhere. We are initially told this retrospectively in Belgian writer Pamela Ghislain’s play by Gabriel, the high flying alpha male lawyer who took on her case pro bono. As Lune comes up against the system in the form of the court’s initially officious administrator Darya, her refusal to budge from the steps turns her into a cause celebre. She also becomes a target for the sort of male violence she quietly rails against. This is something the play’s harrowing central monologue in Katherine Mendelsohn’s forensically clear translation makes agonisingly clear. Wils Wilson’s searing production for A Play, a Pie and a Pin...

David Hewiston and Tom Brogan - The Return of Theatre 118

A Glasgow theatre forced to close after the owners of their premises decided to develop the space into student flats has found a new home. Theatre 118, named after the company’s former premises at 118 Osborne Street in Glasgow’s city centre, looks set to reopen in a former office block in Port Dundas. With the venue set to launch in November, an opening programme of theatre, comedy and live poetry is already in place. The volunteer run company has also secured a ten-year lease for the 4,500 square foot Payne Street building, enabling it to be able to plan ahead while providing a long-term home for what they describe as a growing community of artists and audiences. With an emphasis on affordability, Theatre 118 aims to provide cheap access to the space for artists. For audiences they will operate a pay what you want scheme, with ticket prices starting from £3 for events at the 100 seat theatre the company is in the process of building. Rehearsal space and offices wil...

Peter Christopherson – Gorbals

Few areas of Glasgow have been photographed as much as the Gorbals. From Bert Hardy in the 1940s and Oscar Marzaroli in the 1960s through to Steven Berkoff during the same era, each photographer has marked the changes of the once notorious area from tenement slum to high rise life and beyond. A new book of images from the archive of the late Peter Christopherson forms something of a missing link, drawing as it does from the mid to late 1970s, when Christopherson was commissioned by the Citizens Theatre to provide images for posters pasted across the city. Published in a lavish hardback by Timeless editions, the French based imprint that specialises in underground art, GORBALS showcases a vast array of Christopherson’s images over more than 200 pages. The book also features interviews with two of the Citizens Theatre’s former artistic directors, Giles Havergal and Philip Prowse by writer Nick Soulsby that puts the photographs in context. With Prowse the design genius wh...

These Are Our Neighbours

Citizens Theatre, Glasgow Four stars There has already been one stage play and a major documentary in the last six months about what happened on Kenmure Street on Glasgow’s South Side one sunny day in 2021. That was when UK Home Office officials attempted to remove two men from their homes. Presumably these tactics would have seen the men detained and ultimately deported, never to set foot on Glasgow soil again. History, on the other hand, had other plans. As we know, a spontaneous show of strength that began on the men’s doorstep ended with an entire community standing up to protect its own. Katharine Williams’s new play for RUPTURE Theatre Company and Company of Wolves tells all this through the words and actions of three performers who become a kind of Greek chorus of locals bearing witness. They do this in-between being on the frontline of the action, be it as protestors, policemen, or the woman watching from her window who finally c...