Greg Holstead, Author at North West End UK

18Mar

By Greg HolsteadNo Comments

Scotland

Meursault – Traverse Theatre

There is something slightly incongruous about seeing Meursault at the Traverse Theatre. The venue is best known for drama rather than indie music, and that theatrical context inevitably shapes the experience. What might feel like a raw, emotional gig elsewhere becomes something closer to a performance piece here, with an audience inclined to listen politely rather than react. The evening opens with a generous half-hour set from Stefan Honig, the Cologne-based singer-songwriter. Performing solo with guitar, Honig delivers an intimate and understated opening to the night. His songs, which he admits he isn’t always entirely sure how to explain, lean towards reflective folk, delivered with quiet confidence. One highlight is For Those Lost at Sea (2012), which stands out for its...

One Day: The Musical – The Royal Lyceum, Edinburgh

13Mar

By Greg HolsteadNo Comments

Scotland

One Day: The Musical – The Royal Lyceum, Edinburgh

When a beloved novel arrives on stage, the question is always the same, what can theatre add that the page or the screen cannot? With One Day, The Musical, adapted from the best-selling novel by David Nicholls with book by David Greig and music and lyrics by Abner Ramirez and Amanda Sudano Ramirez, the answer lies not only in performance but in space itself. When I go to see a musical, I am essentially judging three things, the story, the staging, and the performances. In other words, what is said, how the piece is physically realised, and how convincingly the cast bring it all to life. In this case, all three come remarkably close to full marks. David Greig’s script adaptation works remarkably well, keeping the structure of the original story while translating its episodic nature to...

11Mar

By Greg HolsteadNo Comments

Scotland

The Bacchae – The Studio

The latest touring production of The Bacchae by Euripides, presented by Company of Wolves at The Studio at Festival Theatre in Edinburgh under the umbrella of Capital Theatres, is a bold and strikingly modern interpretation of a play that is already more than 2,400 years old. Written and performed by Ewan Downie and originally directed by the late Ian Spink, this stripped back solo performance attempts something rather daring, to compress one of Greek tragedy’s most disturbing and philosophically rich stories into a highly physical, ritualistic piece of theatre. At its best, the production is undeniably compelling. Downie’s performance is intense and committed, shifting rapidly between narration, character and movement in a way that suggests an actor channelling a whole chorus...

Think of England – Glasgow Film Festival

9Mar

By Greg HolsteadNo Comments

REVIEWS

Think of England – Glasgow Film Festival

At the screening at the Glasgow Film Theatre during the Glasgow Film Festival, the festival director began with a small confession. Introducing a film called Think of England, he suggested, required a certain amount of bravery when standing in front of a Glasgow audience. It got the laugh it deserved, but it also set the tone rather nicely for what followed. Because Think of England begins with a premise that sounds almost like a joke, and gradually becomes something rather more thoughtful, and occasionally rather unsettling. Written and directed by Richard Hawkins, the film is set during the Second World War and built around a wartime rumour so improbable it almost feels invented, that somewhere within the labyrinth of British military bureaucracy someone proposed mak...

Rozencrantz and Guildenstern Are Dead – Assembly Roxy Upstairs

5Mar

By Greg HolsteadNo Comments

Scotland

Rozencrantz and Guildenstern Are Dead – Assembly Roxy Upstairs

Tom Stoppard’s Rosencrantz and Guildenstern Are Dead is a play that wears its cleverness cheerfully on its sleeve and occasionally waves it about like a philosophical flag. Absurd, witty and quietly unnerving, it takes two minor characters from Hamlet and places them centre stage in a universe where the rules of narrative appear only partially understood. For any company, let alone one mounting its very first production, it is a formidable undertaking. Yet Gutter Theatre of Edinburgh, present the play at The Roxy Upstairs, approach the challenge with a pleasing mixture of ambition and good humour. The play famously opens with a coin tossing sequence in which probability appears to abandon the building entirely. From that moment onward Stoppard’s world of existential ...

4Mar

By Greg HolsteadNo Comments

Scotland

The Events – Traverse Theatre

There’s something quietly disarming about walking into the Traverse and finding the choir already in place. No theatrical reveal, just a community gathered on stage, singing, moving joyously, and dispensing hot drinks to the audience. Behind them, in a broad horseshoe, columns of stacked chairs rise like an improvised colonnade, orderly, architectural, faintly ecclesiastical. Later, those same chairs are winched into the roof, clattering against one another in a moment of metallic chaos, a striking image of rupture of ‘the event’ that lingers long after it settles. David Greig’s The Events, first staged in 2013 and winner of a Fringe First that year, returns here as a welcome re-emergence of a modern classic. Its revival demonstrates that it has lost none of its edge. If anything, ...

16Feb

By Greg HolsteadNo Comments

Scotland

(UN)LOVABLE – Traverse Theatre

Scratch nights are, by their very nature, uneven affairs, messy blue prints or gluey models rather than finished buildings. And [UN]LOVABLE at the Traverse Theatre embraced that spirit fully, five short pieces circling the theme of love’s absence, distortion, or bureaucratic assessment. Some were works in progress in the truest sense, one felt ready to walk straight back onstage tomorrow. Clown Divorce Written by Russ Russell and directed by Sarah Docherty, this dark comedy about a clown navigating marital breakdown opened the evening with energy and a knowing wink. Performed solo by Chris Viteri, the piece invited us into a surreal domestic world where divorce proceedings involve greasepaint and emotional pratfalls, and where the profession runs in the family, mother a...

11Feb

By Greg HolsteadNo Comments

Scotland

Auntie Empire – Summerhall Edinburgh

At Summerhall, as part of the Manipulate Festival, Julia Taudevin’s Auntie Empire is a show that improves as it decays. Performed solo by Taudevin, who also conceived the work, the production opens in a register of playful provocation, leaning heavily on audience participation. Under the guidance of performance director Tim Licata, these early sections clearly aim to implicate the room, drawing the audience into complicity before pulling the rug, but the results are mixed. Some exchanges feel laboured, stretching jokes past their natural lifespan and slightly blunting the edge of the satire. At times, the structure seems more interested in keeping the audience busy than in advancing the analysis. Once the show pivots away from participation and into its more overtly theatrical langua...

9Feb

By Greg HolsteadNo Comments

Scotland

The Rite of Spring – Traverse Theatre

At the Traverse Theatre, as part of the Manipulate Festival, Dewey Dell’s The Rite of Spring announces itself as a work that expects, and repays, sustained attention. Running a concentrated fifty minutes, this is not a production that courts easy admiration or quick interpretation. It is slow, deliberate, and insistently moody, drawing the audience into a sealed weird world that unfolds according to its own internal logic.The original scandal of Stravinsky’s The Rite of Spring lay in its pagan brutality, Nijinsky and the Ballets Russes presenting sacrifice as the necessary price of renewal. In Dewey Dell’s reimagining, conceived and directed by Agata Castellucci, Teodora Castellucci, and Vito Matera, that focus subtly shifts. As a monumental red flower opens to reveal a prot...

Don Quixote (Is A Very Big Book) – Traverse Theatre

9Feb

By Greg HolsteadNo Comments

Scotland

Don Quixote (Is A Very Big Book) – Traverse Theatre

There’s a moment early on in Don Quixote (is a Very Big Book) where the performer suggests the entire show sprang from a serendipitous eBay purchase, a suit of unlikely, clown-footed, articulated armour. It’s a charming idea, but frankly, it’s nonsense. The armour is far too central, too embedded, too perfectly calibrated to the rhythms of the piece for this to be anything other than myth-making. And that’s no bad thing. Don Quixote, after all, is built on glorious delusion. What matters is that this is an almost perfect one-man show, and that’s a bold claim, but a justified one. One-handers often get tantalisingly close to perfection because of the sheer control involved, one body, one voice, one mind shaping the entire theatrical universe. What’s remarkable here is that this sh...