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20/20 tackles the timeless tale of Orpheus and Eurydice with a modern twist, taking place in 2020 with Orpheus falling in love with a reincarnated version of Eurydice. This baseline for the plot had much potential, as the Greek tale is still ripe with thematic relevance, as seen by the recent smash hit ‘Hadestown’. However, it saddens me to say that this needed a lot more re-drafts and a more focused understanding of the tone before being executed on a stage. I truly admire the passion and dedication poured into this show, as you can see it reflected on stage through each actor's performance. The lead actors of Orpheus and Eurydice are very charming, and if given stronger material, they could have shown off their talents in a much more effective way. The material itself bounces from...

Nicola Benedetti kicked off the evening with a warm welcome, telling us it was going to be “a lot about the violin” and a tribute to Yehudi Menuhin. She mentioned that in her early career she had often played second violin to Alexander Sitkovetsky, but tonight she certainly wasn’t playing second for long. The atmosphere was set, intimate, personal, and just a bit cheeky.The concert opened with Elgar’s Serenade for Strings, lush and romantic, a soft embrace of a piece that filled the hall with warmth and a gentle nostalgic glow. Its three movements flowed effortlessly, a perfect opener that drew the audience in with grace rather than bombast.Then, Alexander Sitkovetsky took the stage for Panufnik’s Violin Concerto, a deeply spiritual work written for Menuhin. It’s reflective, lyrical, and q...

In Note of Concern things take a turn for old school friends Scott (Will Evans) and Alec (Jordan Monks) when they get trapped in a classroom during their High School reunion. Secrets are uncovered, old feuds are rehashed, and the body of their old teacher Mrs Cruickshank is found in the supply cupboard.  Produced by Fast Snail Productions and written by Evans and Monks, this show is a one act play that looks at growing up, growing apart, and the unseen turmoil people face alone. Both Evans and Monks seem to thrive in the realist and naturalistic style of the play - of course it does help that they themselves wrote it so have a greater understanding of the tonality of the piece.  Stephanie Austin’s direction made for a snappy and fluid show, with the actors delivering re...

Based upon the witches of Macbeth, Mother, Maiden and Crone retells this classic tale in the setting of Club Limbo (or should I say Limbo Bar and Kitchen) — a gay bar in which the witches work. Mother (Lewis Gemmell) is the bar’s only drag queen, Maiden (Ewan Burns) is the signature messy twink bartender, and Crone (Fin Watt) is the feral, nonconformist DJ. Together they face the horror that is a straight hen-do, who have booked into Limbo for the night. With gay-adjacent bridesmaid Brandi (Zara Kennedy) having booked the venue, the rest of the gaggle aren’t best pleased, so Mother, Maiden, and Crone have a little fun stirring the pot, leading to McBride’s (Erin McGivern) demise. Ewan Burns’ writing makes for a hilarious evening, with dialogue from Macbeth being campified and modern...