Ode to Joy (How Gordon Got to Go to the Nasty Pig Party), Summerhall ★★★★★
Dystopian theatre takes many forms – but this is the first which is a jury-room drama. Dawn King has previously explored the world of double-think and the use of fear and fake news by oppressive regimes in her 2011 drama, Foxfinder, and now turns her attention to climate change litigation. With a twist. In The Trials, a jury of young people must deliver verdicts on the role of older individuals in contributing to the climate change.
There’s nothing quite like magic, live, up close and personal. Sure there are the TV spectaculars, the casino resort mega-shows and even The Masked Magician to pull back the curtains, but there’s a frisson in the air when the card that’s in your head appears in the conjuror’s hand. Roll in a spot of cabaret and circus and the tang of transgression tingles on the tongue, the grim world of the natural sliding away, the supernatural its welcome substitute.
"I feel I owe you an explanation." That much James Thierrée concedes partway through his sprawling, freewheeling, dream-like, hallucinatory Room in Edinburgh’s King’s Theatre. By which stage, most of the audience was probably in agreement. It’s a proposal he comes back to again and again during the rest of the show – but, of course, no explanation ever materialises, save a few strangulated noises, which seem about the best Thierrée can manage.
First, a bit of housekeeping. Maybe it was the three-and-a-half-hour duration, or maybe the unfamiliar Sri Lankan subject matter, or maybe even the very un-festival-like hot weather that put people off an evening inside Edinburgh’s Lyceum Theatre. Or maybe (very possibly) continuing Covid concerns.
Temping, Assembly George Square Studios ★★★★
Sarah Jane is away in Hawaii. But don’t worry – she’s left plenty of instructions for your day temping in the actuaries’ office, checking voicemails, answering emails, updating spreadsheets. After all, it’s just numbers – it’s not like you’ll be dealing with people’s lives or anything.
Every Word was Once an Animal, Zoo Southside ★★★★
Has the pandemic made us more angry? Although Francesca Martinez’s debut play, which is at the National Theatre, was programmed before COVID, its belated opening has not dampened the playwright’s fiery criticism of the effects of Tory government austerity on the lives of people with disabilities.
The Last Return, Traverse Theatre ★★★★★