"IT'S like Wimbledon," shouts one wag midway through the second half of Jennifer Dick's production of Shakespeare's island-set elegy, as a ground-sheet is dragged across the set after the show is halted two-thirds of the way in once the rain starts.
AS the Spice Girls head to the West End with their jukebox musical, director Cora Bissett unveils a lo-fi compendium of after-hours confections which I would be prepared to bet reveals an altogether more fascinating and challenging understanding of contemporary musical theatre.
In this its ninth production, The Agatha Christie Theatre Company opts for Murder on the Nile, a play which had its premiere in Dundee in 1944 before taking to the West End stage in 1946 at The Ambassadors Theatre (later to be the first home of Christie's theatrical stalwart The Mousetrap).
To say that presenting a play called The Tempest, outdoors, in Scotland, a matter of hours after an electrical storm is tempting fate is an understatement akin to saying that Michael Winner is occasionally a bit unpleasant.
Dance To The Music's Glasgow show fell pretty much mid-way in this UK tour of the entire 15-piece Strictly Come Dancing band, led by musical director Dave Arch – and the fun and rapport that has been built on their pretty gruelling schedule was impressive.
After Sandy Nelson's blisteringly funny adaptation of Bernard Shaw's Pygmalion last week, the Sol Summer season of cut-down classics at Oran Mor continues with Marcus Roche's take on Alfred Jarry's Absurdist comedy, Ubu Roi.
WHILE setting Shakespeare in a psychiatric unit isn’t a new idea, neither is it uncommon for real life patients in such institutions to construct such elaborate self-destructive fantasies with themselves at their fragile world’s centre.
A fearful, disorientated man, who has (from whose hand we do not know) received a vicious gash across his chest, is ushered by a doctor and a nurse into a huge room in a crumbling Victorian mental institution.
When Ella Hickson's debut work appeared at the end of the 21st century's first decade, her octet of monologues tapped into a similar emotional and spiritual void that had fascinated a new wave of playwrights a decade before.