SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
Eloquent dance in public spaces
ALAN CAIG WILSON witnesses an intense, hour-long masterpiece of control and deep focus
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
MATTHEW HAWKINS pays tribute to the performance artist and costumier, Leigh Bowery
SIMON DUFF reviews a new composition by German composer and pianist Florian Weber that blurs the line between where improvisation ends and composition begins
New releases from The Jim Mullen Quartet, Caroline Kraabel/John Edwards, and Matthew Muneses/Riza Printup
Ready
Dancebase, Edinburgh
MATTHEW HAWKINS’ Ready is an intense, hour-long masterpiece of control and deep focus, with moments reminiscent of the “interrupted” world of Samuel Beckett. A solo performance, we witness Hawkins’ flowing movement, seemingly freeform but composed of a subtly repetitive patterns and gestures.
The journey begins and ends in the vague space of the theatre room, and in between takes us out into the more epic environment of wind-blown trees and the lowering presence of Edinburgh Castle.
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