Coffee-Table Notes

Edinburgh International Conference Centre Four stars It feels like a wake at the opening of this transatlantic collaboration between New York wunderkinds The TEAM, the National Theatre of Scotland and Edinburgh International Festival. As Brian Ferguson steps out into a deserted pub to consider what's Scottish, the top soil is still fresh on the floor as his character, also called Brian, makes a prodigal's return from his London home with his granny's ashes in tow. Hooking up with his old pal Iain, an uneasy reunion unlocks a shared history of anti Poll Tax demos and anti Thatcher protests before Brian 'sold out.' When they're hit on by American tourist Red, the trio take a road trip to the Highlands, where hard truths come home to roost. What sounds like a conventional road movie style yarn lurches into a whisky-fired fantasia that sees the three role-play the Highland clearances before heading stateside to the country roads of West Virginia past and

The story of how Helen Monks ended up playing a fictional version of a teenage Caitlin Moran in TV sit-com Raised By Wolves is pretty well known by now. It's the one about how student fan-girl Monks went to a book-signing by the best selling author of How To Be A Woman, whose journalistic career began aged sixteen after winning a newspaper competition. During the event Moran let slip that she was writing a semi autobiographical show with her sister Caroline, and when she went up to get her book signed, Monks suggested that she could play her. Being an all round good sort who understands the power of being precocious more than most, Moran took Monks' email address. The next thing she knew, Monks was auditioning for Raised By Wolves sporting a fat suit borrowed from her brother. Moran had googled the twenty-three year old, and, still only in her second year at Sheffield University, was cast as the uber excitable Germaine, hormonal eldest daughter of the housing estate schooled

Thomas Richards was a young student at Yale University when he first encountered the work of Jerzy Grotowski. Little did Richards know then that he would go on to become what the Polish theatrical guru would later describe as his 'essential collaborator', let alone take charge of Grotowski's work and legacy as artistic director of the Workcenter of Jerzy Grotowski and Thomas Richards following his mentor's death in 1999. As the Workcenter, founded in Pontedera, Italy in 1986, celebrates its thirtieth anniversary, Richards and his collaborators and co-producers at Rose Bruford College of Theatre and Performance bring a short Grotowski season to Edinburgh, where the director's production of Stanislaw Wyspianski's play, Akropolis, first introduced western audiences to his work at the Festival in the late 1960s. “It blew my mind,” Richards says of his initiation into Grotowski's methodology that went on to change his life. “When I was at Yale we were int

Enlightenment can come at any time. Just ask the artists behind Anything That Gives Off Light, the international co-production between American wunderkinds The TEAM, the National Theatre of Scotland and Edinburgh International Festival, which opens at EIF this week. As is usual with the TEAM, the company's artistic director Rachel Chavkin has worked with a group of TEAM regulars to create a show that explores national identity in a post Scottish Referendum, post Brexit climate in which the shadow of the forthcoming American elections has been looming large and increasingly loud. For Anything That Gives Off Light, Chavkin has been joined by Glasgow-based writer and director Davey Anderson as associate director. The show's writing credits feature Chavkin and TEAM member Jessica Almasy on the American side, with Anderson and actors Brian Ferguson and Sandy Grierson providing input from the Scottish members of the team. “Because we're in different countries,” says Ch

Royal Lyceum Theatre Four stars Everybody's watching throughout Declan Donnellan's production of Shakespeare's most cryptic comedy, presented at EIF in this Russian language version produced by Donnellan and designer Nick Ormerod's Cheek by Jowl company and Moscow's Pushkin Theatre. Church, state, military and common man and woman are all in it together from the start as they march around an array of five large red cubes in silence after what sounds like the shackles of eternal imprisonment have sounded out in darkness. As each one breaks off one by one, a pecking order is gradually revealed, so when the Duke goes undercover, leaving Vienna in the hands of Angelo, an increasingly oppressive world takes shape. With Claudio sentenced to death for sex crimes, it is left to Angelo to see how far the condemned man's saintly sister Isabella will go to save him. Andrei Kuzichev's Angelo is a dead-eyed bureaucrat out of his depth, while Alexander Arsentyev

The pre-show Undertones soundtrack is a telling marker of what's to come in Greater Belfast , Matt Regan's spoken word tone poem to Northern Ireland's capital where he no longer lives. While from Derry, the punky purveyors of Teenage Kicks were the epitome of what was possible despite the violent divisions that defined what Regan calls the T word in his sixty-five minute love letter to his home town from an exile's point of view. Accompanied by the sublime arrangements of the Cairn String Quartet, Regan leads us on an impressionistic travelogue through Belfast old and new, a city marked by songs and an eternal desire for an alternative ulster that nevertheless acknowledges the bombsite of old. Developed at Glasgow's Tron Theatre, who now co-produce this finished version with the Traverse and Regan's Little King company, Claire Willoughby's production weaves the different elements of the show into an elegant suite loaded with as much black humour as oper

Edinburgh Playhouse Four stars It's interesting to observe how two of Edinburgh International Festival's contemporary music acts have fared since they shared a tour together fifteen years ago that took in a Glasgow club date. Where Godspeed You! Black Emperor, who played the Playhouse last week, have stayed wilfully in the shadows even as they soundtracked a second dark age, Icelandic soothsayers Sigur Ros have retained an epic warmth that has seen them crossover into date night territory. This is evident from the first of two nights at EIF, where the band's core trio of vocalist Jonsi Birgisson, bass player Goggi Holm and drummer Ori Pall Dyrason are all but hidden from view during the opening numbers. Lined up like maids in a row behind state of art 3D projections that begins with a moody blue forest before cascading into more interstellar imagery, the three eventually move centre-stage just as the meditative tone of the first two tunes splits wide open. Fro