Coffee-Table Notes

Citizens Theatre, Glasgow Five stars   The vintage microphone that hangs down centre stage may be designed for old school crooners in Linda McLean’s adaptation of Denise Mina’s true crime novel, but as it swings between those confessing not quite all, those behind it tell a far darker story.    It is 1958, and in a world where gangsterism and civic entrepreneurism rub shoulders in spit and sawdust bars and after-hours members clubs, William Watt has been released from prison after being tried for the murder of his wife, daughter and sister-in-law. Determined to clear his name, the Lanarkshire businessman ends up on a twelve-hour bender with Peter Manuel, who will later be convicted and hanged for these and other killings.    Over two intense hours, Mina’s story flits between the trial and a speculative dramatisation of what may or may not have happened during Watt and Manuel’s epic session. The result in Dominic Hill’s main stage production is a slow burnin...

Tron Theatre, Glasgow Four stars    Love hurts in D.C. Jackson’s potty-mouthed sitcom writ large. This is something to do with the succession of studiedly adolescent one-line gags peppered throughout as much as the growing pains of impending adulthood, not to mention the hangovers that go with both. Either way, it’s complicated.    This is how it rolls for Tom and Amy, the terminally feckless thirty something duo whose drunken one-night office amour helps stave off grown up responsibilities. Until, that is, they have no choice. Inbetween, Jackson has his sort of happy couple rewind on assorted teenage romances that left their mark like a bad home made tattoo. With Tom and Amy’s messy story told by each in turn as they narrate their own unreliable memoirs, we get to see their warts and all destiny from all sides until they become entwined forever.    Johnny McKnight’s revival of Jackson’s 2010 mini series in waiting stays true to its overriding ridiculousnes...

Òran Mór, Glasgow Four stars   Don’t mess with the Hens in Debbie Hannan’s new play, the latest lunchtime epic to grace A Play, a Pie and a Pint’s current season. As Jade, Amber and Lilac gather for their best pal Coral’s weekend extravaganza, they are already a force to be reckoned with. Once Coral’s so called cousin and unexpected guest Luna checks in with the WhatsApp group, however, by the end of their 48 Hours of regimented fun in the Athens of the North, they will have become goddesses.    This is brought to mercurial life by three of the finest female acting talents of their generation, with Danni Heron as Jade, Laura Lovemore as Lilac and Anna Russell-Martin as Amber joining forces as a chorus to end them all on Heather Grace Currie’s celestial looking set. As the trio double up as Coral and Luna in this co-production with Assembly Roxy in Edinburgh, the level of female energy on show goes stratospheric in its mix of ancient...

Òran Mór, Glasgow Four stars   As Scotland’s latest World Cup hopes come into view over the next few weeks, Joe McCann’s debut play is a timely look at one of the country’s lesser-spotted footballing greats. Back in the nineteenth century, Andrew Watson arrived in the UK from Demerara, British Guiana, the mixed race son of a wealthy sugar plantation owner father and a Guianese mother. While at university in Glasgow, Watson discovered football, and went on to become the first black player in association football at international level, who became star striker and captain of Queen’s Park. Watson also captained Scotland’s national team in three games that saw them hammer England twice, with the first game, a 6-1 victory for Watson’s team, remaining a record home defeat for England.   This is more than enough to get the faithful rallying behind Watson in McCann’s play, performed with heart by a solo Dayton Mungai, who begins with a question to the audience. Several others fol...

Theatre Royal, Glasgow Three stars    Relocation, relocation, relocation is the order of the day in this new stage adaptation of Barbet Schroeder’s 1992 schlocky horror psycho-sexual thriller. Drawn from John Lutz’s novel from two years earlier, SWF Seeks Same, the story imagines what happens when a woman’s new flatmate turn out to be mad, bad and very dangerous to know.    Moving house is not only theprime drive for Lisa Faulkner’s Allie as she and her teenage daughter Bella move into a building with seriously shonky electrics after Allie finally ditches Bella’s feckless dad, Sam. Nor is it just about Allie’s new lodger, Hedy, played by Kym Marsh as a Yorkshire sired cuckoo in the nest.    Writer Rebecca Reid has taken the steamy stateside des-res of the film and moved it lock, stock and homicidal kitchen knife to what appears to be a collapsing British suburban tower block. Not only that, Reid has whooshed things forward a few decades from the angsty and ...

Pitlochry Festival Theatre Four stars   You know the craic. You step into a late night music bar, the joint is jumping, and you walk out with your life turned upside down. Or at least this is what happens to the Dublin troubadour at the heart of Enda Walsh’s musical stage version of John Carney’s hit big screen romance. The catalyst for this wake up call is a turbo charged Czech pianist who tunes into his sad eyed laments and decrees they make an album together. Rounding up a group of misfits Commitments style, an all night burst of creativity sees them set down a classic before everything has to change once more.   As those who have seen either the film or John Tiffany’s Tony award winning Broadway production will already know, beyond the pair’s obvious chemistry, it’s complicated. For one unrepeatable moment, however, the international language of music and the emotional sparks that fly from it are the only things that matter.    As an opening gambit for Alan Cummi...

Dundee Rep Four stars   When Willy Russell's Pygmalion like tale of a working class hairdresser’s getting of wisdom by way of an Open University literature course run by a pickled ex poet first appeared in 1980, social mobility and education for all was still a possibility. If set today, lecturer Frank would have long been made redundant, while Rita’s thirst for knowledge would likely have been thwarted by fees that would have left her in debt forever. More recently, Rita’s spirit has been brought bang up to date in Jade Franks’ Edinburgh Festival Fringe hit, Eat the Rich (but maybe not me mates x), and it is only a matter of time before Franks slips into Rita’s scuffed shoes and plays her dramatic ancestor for real.    In the meantime, we should be grateful for this latest incarnation of what is now a period piece that remains a glorious riff on the old adage of how a little knowledge is a dangerous thing, be it for better or worse. Debbie Hannan’s production sees Frank ...

Òran Mór, Glasgow Three stars   When two lesbian bikers of a certain age walk into an island bar, it’s no joke for teenage Ruari in Ryan Hay’s new play for A Play, a Pie and a Pint’s ongoing lunchtime theatre season. Helen and Jane have been around the block together, a high-speed double act of Harley Davidsons, leather jackets and war stories about seeing Joan Jett and the Runaways at Glasgow Apollo. Things are changing, however, not least for Ruari, who runs the bar in their dad’s seemingly permanent absence, and is doing a lot of growing up beyond serving whisky after hours.    There is a lot going on in Hay’s play, set over three years when Helen and Jane drop in to the bar for weekend breaks. While much is left unsaid, the late night debates that eventually cut loose sound at points like textbook guides to dealing with the growing pains of becoming who you want to be.    Caitlin Skinner’s low-key slow burn of a production brings this rites of passage p...

Citizens Theatre, Glasgow Four stars   When idealistic young aid worker Samira leaves Glasgow for Jordan in 2010 in the wake of the Arab Spring, she is on a mission to change the world she thinks she understands. As a mixed race Muslim abroad, however, bearing witness from afar may be one thing, but squaring up to frontline atrocities on a daily basis as she moves rapidly from one crisis to another is traumatic enough to leave her profoundly affected by the events around her.    The world may have moved on since Mariem Omari’s solo play inspired by her own experiences first appeared in 2021, but in terms of the fall out of what has happened in the Middle East since then, things have only changed for the worse.    A vibrant performance from Olivia Hemmati forms the heart of Shilpa T-Hyland’s production for the Citizens’ Theatre’s associate company, Bijli Productions, which steps out for a full tour in this redeveloped version of the play. As Samira becomes engulf...

Òran Mór , Glasgow Four stars   Eyes are very much down for a full house in this new play by Marc Pye and Gayle Telfer Stevens, the latest lunchtime extravaganza as part of the current A Play, a Pie and a Pint season. Angie and Linda are pretty much addicted to the allure of the bingo hall, which offers some kind of lifeline, as well as potentially sorting out their respective financial woes. If Angie doesn’t get to call ‘House’, chances are she’ll lose hers.    Linda and Angie’s daughters Stacey and Amy, meanwhile, have other plans, and perish the thought of following in their mothers’ footsteps. With a cool 40k a winning number away, however, Stacey could bankroll her online influencer lifestyle and get some work done on herself, while Amy could kick-start her dog grooming business in style. All it takes to change their lives is one stolen membership card.    There is a lot more going on than meets Kelly’s Eye in Pye and Telfer Stevens’ sit-com style affair. ...

Òran Mór , Glasgow Four stars   What happened one sunny day in 2021 on Glasgow’s south side when agents of the UK Home Office were thwarted from removing two Sikh men of Indian descent from their homes has become an inspiration for our times. The spontaneous show of mass solidarity that rose up that day has already been documented in Felipe Bustos Sierra’s film, Everybody to Kenmure Street. Playwright Simon Jay has here picked up the baton with a verbatim approach to his new play drawn from the day’s events. The result in this latest lunchtime production for A Play, a Pie and a Pint mixes interviews and anecdotal accounts with a little old school polemic to tell the story.    Key to this is the song by Kenmure Street residents Craig and Rachel Smillie written within days of the event, and which here acts as a folksy refrain as actors Nesha Caplan, Kal Sabir and Betty Valencia replay what happened. This moves from the initial response to the eventual release of the men fro...

Royal Lyceum Theatre, Edinburgh Five stars   For those on side, Cowdenbeath Football Club may never have been premiere league material, but they have always occupied a field of dreams. This is made clear in Gary McNair’s wonderful new stage adaptation of Ron Ferguson’s 1993 book, ostensibly a love letter to the club that becomes a funny and profound meditation on the collective power of football fandom as a form of everyday devotion.   So it goes with McNair’s version, which sees Cowdenbeath native Sally make a reluctant prodigal’s return to the Fife mining town following the death of her football daft dad. The deal is that Sally is to scatter her old man’s ashes onto the pitch at CFC’s home ground of Central Park, but only after they win a game. As historical statistics show, alas, the 1991/92 season when Sally made her promise wasn’t exactly a walk in the park in terms of getting a resuls, which is why she finds herself spending more weekends than she bargained for on t...

The Playhouse, Edinburgh  Four stars   Everybody wants a piece of Jenna in Jessie Horton and Sara Bareilles’ smash hit musical, which celebrates its tenth anniversary on its latest UK tour. Based on the late Adrienne Shelly’s film of the same name, writer Horton and composer Bareilles’ confection is a bittersweet affair served up in Abbey O’Brien’s all singing, all dancing restaging of Diane Paulus’ original production with all the trimmings.    Jenna is the waitress of the show’s title, who may bake the best pies in the American South in Joe’s Pie Diner, but who remains stuck in a dead end marriage with abusive husband Earl. With a baby on the way, Jenna looks set to be even more trapped. Also working in the diner are Becky and Dawn, with whom Jenna forms an unbreakable trio in the face of assorted men folk. While Jenna finds Dr. Pomatter has an impeccable bedside manner, geeky Dawn does a whole lot of re-enacting with oddball Ogie, while Becky gets behind the ...

Perth Theatre Four stars   Everyone is a star in Morag Fullarton’s latest remake of a Hollywood classic. Following Casablanca The Gin Joint Cut and It’s a Wonderful Life… Mostly, this reimagining of Billy Wilder’s 1950 showbiz noir  is scaled up to something more suitably epic after being  first seen back in 2015 as a lunchtime show at Oran Mor.    The appeal of putting it back on stage isn’t hard to fathom. Here, after all, is a big picture that mythologises its own world by way of what happens to screenwriter Joe Gillis. Gillis has become the accidental toy boy of faded silent movie queen Norma Desmond after being drafted in to write her back into the spotlight. While Norma is watched over by her devoted butler, Max, Joe teams up with script reader Betty Schaefer, who has her own plans for Joe.    As if such a tangled web wasn’t already a multi-tiered potboiler, Fullarton gift-wraps her production by framing it with Wilder casting his new opus, and t...

The Playhouse, Edinburgh Four stars   A big blood red spotlight engulfs the stage as an eerie underscore plays while the lights go down on this trimmed down version of Shakespeare’s Scottish play. Arguably the bard’s best-known saga has been seen in many forms over the last few centuries. His is tale of doomed ambition and men who would be king probably hasn’t been seen that often with such rapid fire brevity as this new version by the Hove based Out of Chaos company. Perhaps with latter day low attention span in mind concerning this set text friendly epic, director Mike Tweddle here oversees a version featuring just two actors who manage to fast forward through the Macbeths rise and fall in a speedy eighty minutes.    Hannah Barrie and Paul O’Mahoney may be centre-stage much of the time as the fortune hunting Macbeths, but they also double up as a full supporting cast of assorted monarchs, thanes and soldiers in arms without missing a beat. They also do a turn as the wei...

Citizens Theatre, Glasgow Five stars    Sparks fly on the factory floor at the start of Joanna Bowman’s explosive revival of Lynn Nottage’s Pulitzer Prize winning play, first seen in 2015, but looking more pertinent than ever. As a portent of things to come, this opening image is as telling as the fact that the sides of Francis O’Connor’s set look like a cage, inside which, some kind of combat takes place. This is how it is, not just in the factory, but in the bar where the workers splash their wages around, and almost certainly in the prison the two young men at the heart of the play have just been released from.    The time moves between the turn of the century when it felt like people could get by, to eight years later when the world has changed. The place is Reading, Pennsylvania, a blue-collar heartland fired by iron and steel. Here, Tracey, Cynthia and Jessie spend their down time getting hammered, as do Tracey’s son Jason and Cynthia’s boy Chris. The...

Òran Mór, Glasgow Four stars   Hannah Howie has something to get off her chest. The clue is in the title of the actress and singer’s new cabaret style show, the latest mini musical to grace A Play, a Pie and a Pint’s ongoing lunchtime theatre season. Howie’s extravaganza is founded on the life changing diagnosis that she had an 85 per cent chance of contracting cancer. She subsequently turned her decision to have a double mastectomy into something she can have a song and dance about.    Howie does this with the aid of her two little helpers who each represent her Left Breast and her Right Breast, aka Georgia and Freda. As Howie struts her stuff all dressed up in suitably funereal black, G and F are brought to life by Kirsty Malone and Gregor John-Owen, who back her up as assorted comedy doctors as well as busting some moves in step with their mistress. Given that each has a personality of their own - Georgia is the feisty one, Freda the smaller of the two - it is only rig...

Royal Lyceum Theatre, Edinburgh  Five stars   The seasons have shifted since Karine Polwart’s multi media elegy to a 200 year old Sabal palm tree about to be felled in Edinburgh’s Royal Botanic Garden first blew in to the 2025 Edinburgh Festival Fringe. Back then, in the heat of such a turbulent backdrop, Polwart’s elegant mix of storytelling and song stood out enough to be declared a masterpiece. Eight months on, Polwart’s meticulously realised immersive song cycle has blossomed enough for a countrywide tour that begins at the Lyceum, where an early workshop of the show was presented.    From the moment Pippa Murphy’s environmental soundscape rattles with the wind, this homecoming of sorts remains a monument to the power of the natural world and the glorious constructions that grow from it. As the tree is plucked from the wild, taken across oceans to foreign lands and kept in glasshouses that can barely contain it, it evolves into a magnificently plumed hybrid it tu...

Festival Theatre, Edinburgh  Four stars   Johnny Cash and June Carter were destined to be together from the moment they met back stage at the Grand Ol’ Opry. The mercurial life the first couple of country music shared until their deaths months apart in 2003 could have been channelled from the sorts of songs that made them both international stars. Those lives are laid bare in Des McAnuff and Robert Cary’s warts and all tribute to Johnny and June in a show that goes beyond a greatest hits affair to get to the emotional heart of two pop cultural legends.    As the title suggests, this is made myth by a ballad, sung and played throughout by Johnny and June’s son and country music star in his own right, John Carter Cash. Played with considerable charm by Ryan O’Donnell, John becomes the show’s narrator, with a supporting cast doubling up as assorted personal and musical foils as well as what is effectively an all crooning Greek chorus.    The story Jo...

Traverse Theatre, Edinburgh Three stars    It’s all over for Dylan and Roz at the start of Matt Anderson’s new play. Whatever happened, Dylan’s stuff is all packed up for him to collect. When he arrives, it is a frosty reception from Roz that awaits him. But how did these two former lovers get here, having one last awkward exchange before they go their very separate ways?   This is answered over the next sixty five minutes or so of Anderson’s own production, which cuts up a series of bite size scenes that jump between time frames to piece together a bittersweet romance that began with Dylan bumming a fag off Roz at a party. The highs and lows of the first love that follows leaves a profound sense of loss for them both as they career around each other towards the end.     First seen on the Edinburgh Festival Fringe back in 2024, Anderson’s own production for his Kangaroo Court outfit and here presented with Serpentine Productions retains a DIY feel in its sp...