Lunchtime Theatre
PPP: Prom
★★★☆☆ Lively
Sparky energy and interesting observations abound in Oliver Emanuel’s Prom, the latest A Play, A Pie and A Pint offering at the Traverse.
PPP Billy (The Days of Howling)
★★★★☆ Heart-rending:
With a whisper of snow and the haunting of an idea, the latest instalment of A Play, A Pie and a Pint spins in and out of the Traverse leaving a rare desolation in its wake.
Some Other Stars
★★★☆☆ Twinkling:
Ghosting in under cover of darkness, Clare Duffy’s darkly questioning play into the nature of sentience opens the new season of lunchtime theatre at the Traverse by stealth.
A Word with Dr Johnson
★★★☆☆ Articulate:
Words wrap around and claw away at the heart of this week’s excellent Play Pie and Pint lunchtime theatre at the Traverse, the last in the current season.
Descent
★★★★☆ Passionate:
Powerful and shocking, Linda Duncan McLaughlin’s Descent at the Traverse’s lunchtime theatre season from A Play, A Pie and A Pint, grabs you with an intense passion that doesn’t ever hold back.
One In A Million
★★☆☆☆ Well-meaning:
One in a Million, the latest A Play, A Pie and A Pint production from Oran Mór at the Traverse is a disappointingly insubstantial affair.
Kontomble
★★★☆☆ Tasty appetiser:
Community and ritual lie at the heart of Nalina Chetty’s clever new play Kontomble, the opener to the latest A Play, A Pie and A Pint season of lunchtime theatre at the Traverse.
Fat Alice
✭✭✭✭✩ Skin tight:
There’s a twitching unease about Peter and Moira as they sit down to celebrate their 10th anniversary in Fat Alice, Alison Carr’s juicily-observed two-hander which is this week’s lunchtime theatre session at the Traverse.
Leviathan
✭✭✭✭✩ Dark poetry:
Lunchtime theatre returns to the Traverse this week, with a terrible, lyrical roar in Matthew Trevannion’s Leviathan, a collaboration between the Traverse, A Play a Pie and a Pint and Sherman Cymru.
PPP: Squash
★★★★☆ Troubling
Macabre and brutalised, Martin McCormick’s nerve-wracking offering for lunchtime theatre, A Play, A Pie and a Pint, has distinctly Lynchian overtones which director Finn Den Hertog relishes in bringing out.
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