I have always had a thing for theatrical masks and Theatre Royal in Glasgow always has beautiful costumes on display. I took these photos of masks from their collection in 2017.
When Oscar Wilde wrote his play Salome in 1894, there was only one artist suitable in his mind, worthy of depicting both the ghoulishness and dark eroticism of his script – Aubrey Beardsley. The pair shared a similar aesthetic sensibility and had no time for the moralising hypocrisy of the times. It seems cancel cultureContinue reading “Aubrey Beardsley and Oscar Wilde”
This show, premiering at this year’s Edinburgh Festival, couldn’t have captured the zeitgeist more, as headlines about yet more mass shootings and the new firearms law in New York remain fresh in our minds . Written by leading Scottish playwright Morna Young and featuring music composed by Davey Anderson, the production from Pepperdine Scotland isContinue reading “Edinburgh Festival Preview: Americana- A Murder Ballad”
M’ colleague and friend Gareth K Vile once wrote a brilliant article on the role of the critic, citing the lack of quality, and waspishly gave tips such as “write in full sentences”. You would think that this would be a prerequisite, but as I wrote in our previous blog The Tempo House, the riseContinue reading “Everyone Is (Not) A Critic”
A powerful, challenging, provocative and funny new play, Gazing, looking at female representation and autonomy, has been inspired by Kim Ayres’ photography exhibition ‘Women over Fifty’. It starts on Saturday at Dumfries and Galloway’s DG Arts Festival. Ahead of its run this weekend, Lorna Irvine caught up with the creator, playwright Carolyn Yates, and castContinue reading “Interview: Carolyn Yates and Linda Duncan McLaughlin Talk ‘Gazing’”
Go On Linda McLean’s plays are all about humanity in all its messy, smudgy forms, so it’s a fine companion piece to Beckett. Jane (Maureen Beattie) is training an Artificial Intelligence prototype, Jayne. One appears on a screen on a glowing cube, glugging down red wine in a suburban kitchen. The other is in personContinue reading “Theatre Review: Krapp’s Last Tape/Go On, Tron Theatre”