King’s
Oor Wullie
★★★☆☆ Sparky:
Oor Wullie, the touring musical from Selladoor, Dundee Rep and DC Thomson has moments of comic brilliance. However, it never quite coheres into a wholly convincing story.
Goldilocks and the Three Bears
★★★★☆ Spectacular:
Goldilocks And The Three Bears, this year’s King’s pantomime, is an odd creation in many ways, but it retains enough of the tried and tested formulas to convince – to say nothing of good old-fashioned variety stardust.
Edinburgh Gang Show 2019
★★★★☆ Feast of dance:
The lungs and the legs of the over 100 main cast of the Edinburgh Gang Show are made to work overtime in this year’s show, at the King’s to Saturday, which is a veritable cornucopia of song and dance.
The Exorcist
★★☆☆☆ Unholy error:
If the Devil truly is in the details then the Devil is sadly absent from this curiously flat adaptation of The Exorcist, William Peter Blatty’s classic novel of demonic possession at the King’s to Saturday.
Prism
★★★★☆ Sad but true:
There is a deeply felt emotional core to Prism at the King’s. Written and directed by Terry Johnson, the play benefits from an excellent central performance by Robert Lindsay.
Frankenstein
★★☆☆☆ Not chilling:
Confused in its execution, Selladoor’s touring version of Frankenstein has high production values but offers little in the way of pre-Hallowe’en excitement.
The Night Watch
★★★☆☆ Uneasy retelling:
The touring adaptation at the King’s of The Night Watch, the best-selling novel by Sarah Waters, has a great deal of emotional clarity, but little in the way of dramatic power.
An Inspector Calls
★★★★☆ Worryingly compelling:
The revival of a much-garlanded take on J.B. Priestley’s An Inspector Calls at the King’s is wonderfully staged, relevant and more than a little troubling.
A Woman of No Importance
★★★☆☆ Curiosity value:
A Woman of No Importance, Classic Spring Company’s touring production at the King’s, is an accomplished piece of theatre whose stately nature contains little in the way of excitement.
A Taste of Honey
★★★☆☆ Sweet:
Some outstanding performances overcome a series of gimmicky directorial choices in the UK National Theatre’s touring production of A Taste of Honey at the King’s.
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