Coffee-Table Notes

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...

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...

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...

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...

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...

Festival Theatre, Edinburgh  Four stars   As any armchair radical knows, if you can’t dance to the everyday insurrection you’re at the vanguard of, it’s not a real revolution at all. This grade A manifesto is taken to the max in Kate Prince’s smash hit musical based around the figure of Sylvia Pankhurst, the real life suffragette who campaigned in the UK during the early years of the twentieth century for votes for women. As the daughter of Emmeline Pankhurst, who might be regarded as one of the mothers of the women’s movement, Sylvia is a chip off the old block. Later, alas, she finds herself at odds with her family for not taking a by any means necessary approach to her activism, but gets the vote anyway.    If all that sounds rather dry, think again. With music by Josh Cohen and DJ Walde to go with Prince’s lyrics and a book penned with Priya Parmar, this is history told in the form of a non-stop mash up of hip hop, soul, funk and gos...

Òran Mór, Glasgow Four stars   If a working class hero is something to be, then why does so much theatre still sideline the so-called lower orders as servants, sidekicks or light relief doing the dirty work or else playing the donkey for their masters and mistresses ad nauseam? While lead stage roles are left to the posh boys and girls, the common people remain cast as criminals and crooks.   Or maybe that was just William Shakespeare, who gets caught bang to rights in Martin O’Connor’s ingenious peek behind the curtain in A Play, a Pie and a Pint's latest edition of lunchtime theatre. Here we find A Midsummer Night’s Dream’s Rude Mechanical and wannabe thespian Nick Bottom, who seems condemned to play the fool forever.    Debbie Hannan’s production begins with Bottom the jobbing actor auditioning for the play within a play that features in Shakespeare’s play when Bottom gets to live the high life for a while. By turns nervous, apologetic and desperate to impres...

The Studio, Edinburgh Four stars   Stop me if you’ve heard this one before, but when an out of work actor is approached by a mysterious stranger to role play some dark past in Tim Foley’s play, the experience awakens subterranean forces that rise from the grave in a terrifying display of nocturnal psychic terrorism.    No, this ingenious bite size production by the Wigan based ThickSkin company isn’t a reboot of The Woman in Black or any of the other hammy horrors doing the rounds over the last few years. Rather, Neil Bettles’ production of Foley’s late night yarn is an altogether more up to date take on supernaturally inclined pulp fiction.   Our host Joe wears baggy jeans and works in a bar to make ends meet. His posh boy ex represents everything Joe hates in the cliquey theatre scene, so when even posher local David hires Joe to pretend to be a ghost to scare David’s nieces holed up in his country pile, it looks like a pretty lucrative gig. Once Joe gets on site, ...

Royal Lyceum Theatre, Edinburgh Five stars    A school reunion opens the National Theatre of Scotland’s suitably monumental looking twenty-first century reboot of Muriel Spark’s classic novel. Beside a semi circular coliseum style staircase that dominates the stage, a grown up Sandy Stranger and her less likely peers from the girl gang once known as the Brodie Set rewind on their between the wars adolescence that shaped them. This, as we know, was down largely to the mercurial figure of Jean Brodie, the self mythologizing libertine whose every inspirational utterance in David Harrower’s simmering new adaptation sounds like a victory speech.   Gayle Rankin’s chic and sensual Brodie first appears striding down the steps of Chloe Lamford’s epic set looking part Hollywood diva, part demagogue. Her students follow, initially looking more St. Trinian’s than Edinburgh’s Marcia Blaine School for Girls. This is a fleeting pre-cursor in Vicky Featherstone’s production for when they...

Citizens Theatre, Glasgow  Four stars    The world has been turned upside down a million times over since Ayub Khan Din’s tragicomic portrait of multi racial back street Britain caught some kind of zeitgeist three decades ago. The play was successful enough to be turned into a hit film three years later. Both showed off what at the time was a milieu rarely seen on stage. Set in 1971 Salford, Khan Din’s study of chip shop owning Pakistani Muslim, George, his English Catholic wife Ella, and their noisy brood of British born mixed race children tapped into a volatile melting pot of cross cultural, pan generational family life.     Half a century on from the play’s post 1960s setting, this new production comes with several lifetimes of cultural baggage in tow. Kash Arshad’s revival - a co-production between  the Citizens, Bolton Octagon and Wiltshire Creative in association with Derby Theatre - stays true to the play’s roots in a bright, funny an...

The decision by Pitlochry Festival Theatre and its assorted producing partners not to allow critics to review brand new musical, Ceilidh, during its Pitlochry run is a strange and baffling affair. As already highlighted by Brian Ferguson in the Herald, the new show by Scott Gilmour and Claire McKenzie, aka Noisemaker, about Scotland’s ceilidh culture was originally announced to open in September on PFT’s main stage. A press night was set for October 1st. This was later moved without notice to Pitlochry Town Hall for an October run, with press invited on October 10th. London dates and a tour of Scotland’s cities follow.    For critics with an already packed schedule of theatre openings, the goalposts being shifted in such a way may have been irritating, but was manageable. Then came last week’s declaration that no reviews of Ceilidh would be allowed during its Pitlochry run. This was tempered by the offer to of an all expenses trip to London to review Ceilidh at Shoreditch Town...

Eva Marie Saint – Actress Born July 4, 1924; died October 6, 2026     Eva Marie Saint, who has died aged 102, was an actress who won an Oscar for her very first film role in On the Waterfront (1954). As Edie Doyle, the quietly determined sister of a murdered New York dockworker, Saint provided understated but steely ballast to the machismo of Marlon Brando’s punch drunk Terry Malloy in director Elia Kazan’s blue-collar epic. Brando may have ripped up the screen as Terry took on the mob-run union he’d become a patsy for, but it was Saint’s portrayal of Edie that gave the film its moral centre, as she became a translucent force for good in a brutalised world.   It was a startling big screen debut that gave a wider audience for Saint, who had already made her mark on stage and television, where she was spotted by Kazan in Horton Foote’s play, The Trip to Bountiful. Kazan cast Saint in favour of Elizabeth Montgomery. As well deserved as her Best Supporting Actress Oscar undou...

Òran Mór, Glasgow Four stars Mothers and sons can be a toxic mix. So it goes in Jonny Donahoe’s emotionally charged new play, which will hopefully have a longer life beyond its lunchtime slot as part of A Play, a Pie and a Pint’s latest season and its subsequent Edinburgh and Paisley dates.    When Mark Barrett’s presumably sole son and heir of Blythe Duff’s solitary matriarch turns up unannounced for the first time in eight months, he finds her burning her back pages on a garden bonfire. Given that some of those pages may involve him, this very Zen gesture of purging has an even greater if largely unspoken resonance. Given that the son’s arrival is because he has something to say to help find some kind of impasse beyond their estrangement, this is even more problematic. As the pair attempt to navigate their way around their differences over the next hour in what looks like an extended co-counselling session, some kind of bridges are eventually built.    As Duff and ...

Scottish theatre is on something of a roll just now in a series of hit shows that mark something of a return for big plays with big ideas that don’t tell you what to think. Long may it continue.   Tristan & Yseult  Citizens Theatre, Glasgow until 3 October; Royal Lyceum Theatre, Edinburgh,  2-24 October . Theatrical maverick Emma Rice scored an international hit back in 2003 with her epic take on the much adapted mediaeval romance about an illicit liaison between a Cornish knight and an Irish princess. If that sounds old hat, thing again, as Rice transforms the ancient yarn into a circus-like caper that roars with life in the show’s first outing for almost a decade in this latest reboot by Rice’s own Emma Rice Company.   The Steamie His Majesty’s Theatre, Aberdeen until 3 October. King’s Theatre, Edinburgh,  5-10 October ; Pitlochry Festival Theatre,  20-24 October ; Alhambra Theatre, Dunfermline,  29-31 October ; King’s Theatre, Glasgow,  2-1...