It is an irritating fact of life that people who are very talented at one thing tend to be talented at everything they do. Jessie Buckley is one of those people. Plucked from obscurity as a teenager in Ireland, she found herself on a talent show performing musical theatre for Andrew Lloyd-Webber. Within a few years she had done Sondheim in the West End, War and Peace for the BBC, Shakespeare at The Globe and, in Taboo, stolen all her scenes with Tom Hardy. Now, with Wild Rose, Buckley not only acts and sings, she reveals she can also do comedy. And a convincing Glasgow accent.Read More
Like most middle-aged music fans, I am adrift in an ocean of digital download channels, still clinging to my CD collection and a fading sense of relevance. At times like these I look to Jools Holland for guidance.Read More
As I take my seat at the Leith Theatre for The Last Days Of Mankind I notice the woman at the adjoining table has her phone out, texting. How disrespectful I think, this is an anti-war play. It was written a century ago! And today is Remembrance Sunday, the actual 100th Anniversary of the Armistice, for goodness sake! But I say nothing. I decide to take the high ground and concentrate extra hard on the work of art that is about to unfold. And there, in a nutshell, is the problem with this production.Read More
The 306: Dusk is the final instalment of Oliver Emmanuel’s extraordinary 306 Trilogy: a thoughtful, compassionate and moving series of plays dealing with the ramifications of the First World War, exemplified by the 306 British soldiers executed for mutiny, cowardice or desertion by their own government. Unfortunately, this final chapter is the least successful of the three.Read More
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