A woman wearing a hijab walks onto the stage, cradling a baby, singing an old song from Pakistan. She puts the baby on a metal table and wraps it in a shroud (kafan). The baby is dead. Ayesha is the funeral director. Such a reversal of expectations is typical of Hannah Hauer-King’s production of Iman … Continue reading Review: The Funeral Director

‘It’s very childish, this need to know everything’, Maureen tells her daughter Anna in Mark Ravenhill’s new play, The Cane. She believes that some things are better left unspoken, some skeletons are better left in the closet. Anna, on the other hand, disowned by her teacher parents for taking up the cause of academisation, talks the … Continue reading Review: The Cane

Posting some of my Edinburgh reviews, originally published by Exeunt. I loved Revelations. The friend I saw it with did not. “Don’t you think it’s quite manipulative? Also, what gives him the right to share Sarah and Emma’s story of their pregnancy?” These are both fair criticisms. (Though, the way James Rowland tells it, he was … Continue reading Review: Revelations

Posting some of my Edinburgh reviews, originally published by Exeunt. Last year, 34% of young people voted YouTuber their top career choice. See-Through, created and performed by Claire Gaydon, is a smart, well-crafted, funny solo show, examining the costs of living your life in the public eye. Gaydon spends most of the performance with her back … Continue reading Review: See-through

Posting a few of my Edinburgh reviews, originally published by Exeunt. Some shows feel too beautiful to write about. SPARKS feels like one of those shows. Fumbling for words, I feel like a butterfly collector trying not to crush the wings of my specimen as attempt to pinion it to a board. I say I … Continue reading Review: SPARKS