Mary Baillie - Page 3

The Royal Conservatoire’s ‘Performance in British Sign Language (BSL) and English’ students present a profound piece showcasing the overwhelming importance of equity for all in the theatre space. At its core ‘Second Person Narrative’ is about identity - the piece depicts 25 scenes following a central character’s life from birth to death, posing thought-provoking questions like: can we forge our own self, or is it sculpted by those around us? Who defines who we are? Can we choose our own destiny? What does it mean to be ‘labelled’?

In their humble abode of Killicrankie, the McTwankie family are in a spin trying to keep their laundry business afloat while the evil Countess searches impatiently for the cave of pleasures, treasures and immeasurable measures. The piece is enjoyable for children, but slightly misses the mark for adults.

A playfully profane Alice in Wonderland-esque trip transforms into a profound psychological exploration in The Wonderful World of Dissocia at the Royal Conservatoire of Scotland this week. The play's two acts are polarisingly different, offering an insightful perspective on the 'treatment' of mentally ill patients.

You'll have the time of your life watching this classic at King's Theatre this week. Featuring phenomenal choreography, catchy tunes and impressive production value, Federico Bellone's Dirty Dancing is entertaining, exciting and oh so enticing. Like Baby, nobody puts this show in the corner!

It’s worth coughing up some cash for Daniel Evans’ and Sean Linnen’s Quiz: The Coughing Major Millionaire Scandal at Kings’ Theatre this week.

If you go to 2:22 A Ghost Story expecting traditional spine-chilling phantoms, you will be disappointed. Renouned in the West End for starry casts and numerous awards, 2:22 A Ghost Story isn't really a ghost story at all. Far from the horror genre one might expect, the piece is more of an amusing but long-winded exploration of how we define ghosts and how we view ghost believers... with the occasional jumpscare.

A frontrunner of Scottish school curricula, Ann Marie Di Mambro’s Tally’s Blood has a bit of everything – history, humour, tragedy, romance and disturbingly relevant social critiques.

 The set is scarce, but that doesn't matter. From birds to cars to bartender counters and water coolers, every set piece, animal and prop are created solely through this talented 4-person ensemble, accompanied by sound designer and musician Frederick Waxman. 

A goofy fantastical mermaid tale told through cardboard signs with descriptive labels accompanied by a spoken language that sounds like a fusion between Icelandic and Simlish? It sounds ludicrous, but strangely.... it works.

Drag Queen of Scots and RuPaul's Drag Race UK winner Lawrence Chaney presents a mix of stand-up and lip syncs in her Fringe debut extravaganza exploring what it truly means to be 'plus-sized'. Her stand-up delivers, her lip syncs less so.

In a world where social media stalks our every move, comment and click online to manipulate personal preferences, it seems pertinent to bring George Orwell's famous novel to the stage. Unfortunately, this production misses the mark.

Abbey Glover embraces her Fringe debut with a playful, poetic and poignant solo show exploring relatable topics through a refreshing new lens. 

Watching Lucy and Friends is how I imagine a halluncinatory drug trip. From smothering her body with tomato puree to exposing naked truths (literally) to maiming a piñata and cutting a strip-pole with a disc saw, Lucy challenges the limits of art in an absurd combination of comedy, theatre and performance installations. 

The Parker & Schnell Youth Company showcase the immense talent of young people through their performance of ‘DNA’.

The glam queen showcases her knack for storytelling, comedy and operatic vocals (that RANGE though) in an anecdote-filled, fabulous performance extravaganza.

Faizal Abdullah launches an engaging, thought-provoking, unique and deeply personal exploration of Malay identity in Singapore through his performative lecture Siapa Yang Bawa Melayu Aku Pergi? (Who Took My Malay Away?)

A queer immersive nightclub musical based on the life of Oscar Wilde? In theory, this sounds incredible. In practice, I’m not completely convinced. Did I have fun? Yes. Did I know what was going on? Questionable.

There are rare occasions in the theatre when dance, film, music, adaptation, ensemble and puppetry combine to create magic. This is one of them. 

There is something surreal about watching a play banned for blasphemous biblical portrayal in an old Church. Embedded with symbolic poetry, repetitive references to the moon and the desire to kiss a severed head, Philomene Cheynet's interpretation of Oscar Wilde’s Salomé presents an unusual twist on the classic biblical tale.

A minimalist set and tiny venue require extraordinary actors, and Michael Matthews’ Blue absolutely delivers.