Author: Sophie Good
Chunky Jewellery
★★★☆☆ Colourful
Barrowland Ballet bring a devised piece from theatre-makers Jude Williams and Natasha Gilmore to the Kings Theatre as part of the theatre’s reopening season.
Thrice
★★★☆☆ Intense
Thrice, stopping at the Traverse at the end of a short Scottish tour for two performances only, presents nine witches (three times three) in the aftermath of Macbeth
It Walks Around the House at Night
★★★☆☆ Horror by Numbers
It Walks Around the House at Night, Tim Foley’s take on a haunted house ghost story produced by ThickSkin, slides into the Studio Theatre for a pre-Halloween two night run as part of a UK tour.
Legally Blonde
★★★★☆ Courtroom Diva
Amber Davies shimmies her way into Harvard Law School as Elle Woods in Legally Blonde, which drops into the Playhouse this week on an impressively high octane and entertaining national tour.
Cheeky Zippy Violette
★★★★☆ A whirlwind
Belgian theatre company Théâtre des 4 Mains present a zany energetic coupe de force with Cheeky Zippy Violette, a one person show which is as silly and entertaining as it is a poignant study of grief.
Gretel (EICF)
★★★☆☆ Twisty
In Gretel, at Assembly Roxy as part of the Edinburgh International Children’s Festival, Italian contemporary circus company Quattrox4 take their audience on a journey to discover the meaning of “home”.
Boys Don’t Dance (EICF)
★★★★☆ Joyous
Boys Don’t Dance, by disabled dance artist and choreographer Marc Brew, is a beautifully told tale of rural isolation about a boy who just wants to dance.
Fame the Musical
★★★☆☆ Energetic
Queen Margaret University Musical Theatre Society returns to Pleasance One with Fame the Musical, a high-energy production that showcases an impressive range of talent across a large cast.
The Bodyguard
★★★☆☆ Power packed
The Bodyguard, the power ballad-packed musical based on the smash hit film and flaunting its Whitney Houston hits, launches into the Playhouse this week with, quite literally, a bang.
Matthew Bourne’s The Red Shoes
★★★★☆ Moody and mesmerising
The Red Shoes, Matthew Bourne’s dark and twisted tale of obsession and love, jetés into the Festival Theatre on the coat-tails of 1940s Hollywood glamour and a Hans Christian Andersen fairytale.
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