Aubrey Beardsley and Oscar Wilde

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”

Edinburgh Festival Preview: Americana- A Murder Ballad

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”

Everyone Is (Not) A Critic

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”

Interview: Carolyn Yates and Linda Duncan McLaughlin Talk ‘Gazing’

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’”

Theatre Review: Krapp’s Last Tape/Go On, Tron Theatre

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”