Dir, Adura Onashile, Tron Theatre, 30th March – 1st April
I walk into the auditorium not sure what to expect. A toilet attendant? Two clubs in different continents? Dreams of dancing? I am not sure this is going to work. Yet what I encountered is an intelligent, thought-provoking and sensitive performance. Somehow, it manages to connect two seemingly separate worlds by focusing on the universality of themes like dreams, power and the rights of women’s bodies.
Dir. Gareth Nicholls, Tron Theatre, 9th-25th March
Extreme projectile vomiting, the stench of ruined fresh tulips, and a ball pool surrounding a set of a furnished middle class living room are what remain mulling in my head after seeing Glasgow’s production of Yasmina Reza’s God of Carnage.
Dir. Suzy Willson, Tron Theatre, 3rd – 4th of March
Upon arrival at the theatre, the audience is offered a menu, reading: “this performance may contain nuts”, a napkin and a dram of whisky. Before even having the time to take a seat, the ballad has somehow already started. The Red Chair, or The Tale of the Man who was so Fat He Growed Into the Chair He Was Sittin’ Upon is the story of a caricatural, dysfunctional family told by the incredibly expressive Sarah Cameron, completely in Scots dialect.
As soon as I sat down in the Tron Theatre, a lovely lady sitting next to me started chatting to me about the amazing look of the stage. Between the solidity and permanence of an enormous backdrop covered in a 3D patchwork of everyday London objects, and the more fragmented, fleeting effect of moving pieces of furniture, the perfect environment was created to present the story of Sarah, Freya and Jasmin. Three sisters who struggle in the midst of shards of their everyday life, never having anywhere to truly belong.
Puppet State (dir. Andy Cannon), Tron theatre, 29 – 30th April
One of J. R. R. Tolkien’s lesser-known works, Leaf by Niggle is a short tale about a little man, Niggle, trying to complete his painting of a tree, but always being disrupted by life’s endless interruptions.
‘The Mikado’ starts off with a man in traditional Japanese costume performing a saw-a-man-in-half magical trick that does not end with the man being alive and well despite the, in this case, Samurai-like swords, but with a cut-off head rolling on stage. The tone is set for Scottish Opera’s traditional but cheeky version of ‘The Mikado,’ a co-production with D’Oyly Carte Opera Company.