Review: Joanne McNally – Bite Me, Fringe 2017

Much of the Fringe marketing in recent memory has leaned upon exoticism, emphasising the bizarre combinations of messages and mediums, and the notion that what you see before you is something very different that you couldn’t possibly see anywhere else other than right here, right now. But sometimes, it’s when you are presented with a piece that is so familiar – when it feels like you have sat down in front of your emotional doppelgänger – that you realise there’s nothing quite like encountering what you already know; like feeling right at home.

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Review: Angels in America

Even experienced from 500 miles away in the local cosiness of the Glasgow Film Theatre, it’s as if an angel has burst through our ceiling and is addressing us with her holy message. Such is the visceral ferocity of the National Theatre’s production of Tony Kushner’s Pulitzer-winning play, Angels In America. It’s wincingly relevant, bar the lack of smartphones and the internet; simply swap the name of the incumbent president and play a short round of spot the difference.

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Review: The Lying Kind

Though I have had it for as long as I can remember, I have no idea if it has a name. The intense discomfort from experiencing something seasonal at another time of year, typically manifesting itself in a rage when I see Easter eggs in supermarkets in the first week of February, or even having to switch the radio station when a song where the title features ‘Monday’ comes on any day other than Monday.

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Review: Who Fed Benny?

An offshoot of the Witsherface comedy collective, Who Fed Benny? is a sketch troupe comprising of Michele Gallagher, Scarlett Mack, Lisa Keddie and Lynnie Carson. Drawing comparisons in comedy is not always favourable but there’s a similar mix of the Scottish surrealism as in Burnistoun, along with the smart silliness of Smack the Pony, to be found here.

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