STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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1927 Theatre Company’s innovative style of narrative charms and entertains in equal measure
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
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MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
Edinburgh Festival
Roots
The Church Hill Theatre
★★★★
“A RATHER ragtag collection of folk jokes and stories” presented in “a combination of live music, pre-recorded stories voiced by non-actors, animation, acting and live dialogue.”
Writer Suzanne Andrade’s description of her production hardly captures what must be one of the most joyous shows in this year’s Edinburgh Festival.
The award-winning 1927 Theatre Company’s innovative style of melding images, reminiscent of black and white silent films — the company’s name gives a clue — with back and front projections, “colour” added by the marionette-like live performers, charms all but the most sophisticatedly resistant audiences back to the delights of childhood.
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