Review: Fallen Fruit

Faced with imminent departure from the European Union, taking stock of values through art and exploring the past seems an important and worthwhile pursuit. Two Destination Language production, Fallen Fruit, gives us an opportunity to do so whilst proving simplicity of design can convey the most effective messages. Written and performed by Katherina Radevaby we get an immersive insight into the Bulgarian born theatre maker’s life in the 1980s through the utilisation of little more than cardboard boxes.

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Review: The Panopticon

In this technological world, The Panopticon looms above us all as an invisible observer ensuring we will police ourselves. This image, represented by the imposing crescent walls of Max John’s set, serves both as the literal setting and as a grounding metaphor for National Theatre of Scotland’s staging of Jenni Fagan’s novel. Far from being concerned with abstractions or literary allusions, Debbie Hannan’s adaptation cuts through to an altogether more personal and powerful story; one which captures the tempestuousness of early teenage years against the backdrop of a care system that lets down those that most need protection .

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Review: Them!

The National Theatre of Scotland’s production of Them! takes our predefined ideas around the safe setting of the chat show, the light chitchat and middle ground patter designed to never challenge anything at the risk of offence as a perfect setting for subversion. You may think the concept of a chat show where the guests are the main players from a Scottish musical remake of 1954 Sci-Fi horror classic Them! – in which giant ants wreak havoc on post-war Los Angeles- may be a tough sell to those seeking an exploration of the human condition, but bear with me.

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Review: Like Flying

You find yourself sitting in the exam hall, paper on the desk in front of you. The clock is ticking, the pressure is on but in your gut, there is a terrible feeling. You know nothing. You have not prepared, and you are not ready to be tested. It’s a recurring dream all too familiar to many even years after leaving education and it serves as an apt setpiece to open National Theatre of Scotland’s interactive, promenade performance Like Flying. An eerie dream world is established immediately as we are directed to take a desk. It’s familiar, but not quite right. As the register is called a simple, unceasing drumbeat played by one of our student hosts reminds us we are through the looking glass now.

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