logo
Edinburgh festivals: 12 shows to be performed at Traverse Theatre this August

Edinburgh festivals: 12 shows to be performed at Traverse Theatre this August

Scotsman29-05-2025

An 'honest, wicked and moving unpicking' of the character of the pantomime dame is among a range of original performances unveiled for this year's festival programme at the Traverse Theatre.
Scotland's new writing theatre said it had unveiled a programme that 'reaffirms its unwavering commitment to discovering, developing and showcasing the most vital new voices in theatre'.
This year's TravFest, which is comprised of 12 productions, including ten premieres, deals with issues from climate change to radicalisation and loved ones developing dementia. Other themes include global conflict and dysfunctional family dynamics, while also bringing joy, humanity, commonality and humour.
Gary McNair's solo fable A Gambler's Guide to Dying returns to the Traverse ten years on from its sell-out, award-winning debut. Another production is Standing In The Shadows of Giants, a world premiere of an autobiographical musical play written and performed by Lucie Barât – sister of The Libertines' frontman and guitarist Carl Barât.
Meanwhile, The Beautiful Future is Coming – an 'urgent' new play about the onrushing climate apocalypse - will span 250 years of real and imagined history through the eyes of three couples, from 1850s New York to present-day London.
The new play by Karis Kelly, winner of the Women's Prize for Playwriting 2022, entitled Consumed, directed by Katie Posner, receives its world premiere on the Traverse stage this August.
1 . Standing In The Shadows Of Giants
Lucie Barât, sister of The Libertines' frontman Carl Barât, steps into the spotlight in the world premiere of her autobiographical musical play Standing In The Shadows of Giants, directed by Traverse Associate Artist Bryony Shanahan. | Traverse Photo Sales
2 . She's Behind You
Director John Tiffany returns to the Traverse alongside Johnny McKnight with She's Behind You, written by McKnight, an uplifting journey exploring our love of panto and the dames that define it. | Traverse Photo Sales
3 . Rift
Inspired by playwright Gabriel Jason Dean's relationship with his own brother, a currently-incarcerated high-level member of the alt-right, RIFT is a story of estrangement, ideological divide, and the fight to change the world. The UK premiere is directed by Ari Laura Kreith and is presented by Luna Stage & Richard Jordan Productions. | Traverse Photo Sales
4 . Red Like Fruit
A haunting exploration of complicity, consent, patriarchy and trauma in a post-#MeToo world, Red Like Fruit, brings audiences the latest work of award-winning Canadian playwright Hannah Moscovitch. This European premiere from 2b theatre company from Halifax Nova Scotia, directed by Christian Barry, sees Luke narrate Lauren's life: her fraying mental health and the unease she feels in the world. | Traverse Photo Sales

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Scottish stories being told at the Edinburgh Festival Fringe
Scottish stories being told at the Edinburgh Festival Fringe

The Herald Scotland

time3 days ago

  • The Herald Scotland

Scottish stories being told at the Edinburgh Festival Fringe

With new shows and events being added every week to the line-up, here are just a few highlights from the ever-expanding programme that is taking shape. Read more: When Billy Met Alasdair, Scottish Storytelling Centre: Award-winning writer Alan Bissett's show is inspired by an encounter between Sir Billy Connolly and Alasdair Gray when the comic met the writer at the launch of his novel Lanark in 1981. Bissett, who is best known at the Fringe for The Moira Monologues, will be exploring the 'origins stories,' struggles and triumphs of Connolly and Gray in a show given a sneak preview at this year's Glasgow Comedy Festival. The birdlife of Shetland has inspired Kathryn Gordon's Fringe show A Journey of Flight. (Image: Supplied) A Journey of Flight, Dace Base: Choreographer Kathryn Gordon has created immersive experience inspired by the birdlife of Shetland, where she lives. Dance, live music and visual projects will be combined to explore themes of arrivals, departures, place and flight. The piece, which was created in Shetland is aimed at encouraging audiences to 'reflect on the delicate balance between 'nature, movement and our emotional ties to place and each other.' River City and Shetland star Gail Watson will be appearing in Faye's Red Lines at the Fringe. Windblown, Queen's Hall: A palm tree removed from Edinburgh's Royal Botanic Garden after more than 200 years has inspired a new stage from award-winning singer-songwriter Karine Polwart. The Sabel bemudana palm was removed last year from the tropical palm house after outgrowing the building, which is currently closed for refurbishment. The tree, which had been transported to the attraction in the 1820s from its previous home on Leith Walk, had 'outgrow' the building and was said to be too frail to be relocated again. Johnny McKnight will be performing his pantomime-inspired stage show She's Behind You at this year's Fringe. (Image: Traverse Theatre) Polwart's show will imagine the poetic and musical voice of the tree in what she describes as 'an exploration of historical legacies, ecological loss, collective ritual and the multi-generational promise of gardens.' She's Behind You, Traverse Theatre: Scottish theatre-maker Johnny McKnight will be reflecting on 'a lifetime spent in pantomimes' in the one-man show he is creating with award-winning director John Tiffany, who was at the helm of the recent Edinburgh stage hit Wild Rose. McKnight, who has written more than 30 pantos and played 18 dames himself, will be looking back at his personal experiences across 20 years of Scottish production. The show, which is being adapted from a lecture McKnight delivered in full custom for the Royal Conservatoire of Scotland, is expected to be exploration of identity, courage and acceptance. The Traverse has billed She's Behind You as 'a celebration of shifting traditions and the unexpected beauty found in the anarchy of pantomime.' Faye's Red Lines, Gilded Balloon: River City and Shetland actress Gail Watson portray a woman with a paralysing fear of intimacy in Rab C Nesbitt creator Ian Pattison's play. The character played by Watson, who starred alongside Andy Gray and Jordan Young in last year's Gilded Balloon hit Chemo Savvy, will confront her long buried past and her solitary life. Skye: A Thriller, Summerhall: The Isle of Skye provides the backdrop to best-selling author and theatre producer Ellie Keel's debut play. It explores the events which unfold when four siblings on holiday believe they saw their their father on a beach four years after he passed away. The show is billed as 'a relentless search for the truth, on a rugged island where real people and ghosts seem to walk hand in hand among the mountains and lochs.' 24 Weeks, Gilded Balloon: The debate over reproduction rights in Scotland has inspired a play set in a not-so-distant future Scotland where abortion has been made illegal. The show focuses on the relationships between three friends who are divided on what to do when one of them falls pregnant.

Theatre reviews: Double You  When The World Turns
Theatre reviews: Double You  When The World Turns

Scotsman

time3 days ago

  • Scotsman

Theatre reviews: Double You When The World Turns

Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Double You, Portobello Town Hall ★★★★★ The Pale Baron, Traverse Theatre, Edinburgh ★★★★ When The World Turns, Lyra Theatre, Craigmillar ★★★★ The Flanders region of Belgium is legendary for the brilliance and daring of its theatre work for young audiences; hence the four-show Spotlight On Flanders season that featured in this year's Edinburgh International Children's Festival. And of all those fine shows, the one that played at Portobello Town Hall over the weekend – Double You, by Be Flat theatre of Ghent – turned out to be the absolute star, an unmissable and breathtaking hour of circus and physical theatre that had a Saturday night family audience cheering and stamping their approval. Advertisement Hide Ad Advertisement Hide Ad Double You PIC: Dainius Putinas Performed by a team of five superbly strong, and athletic men in their 30s and 40s, Double You begins by defying two theatrical conventions. The first says that teams of acrobats should look as neatly identical as possible, submerging their own personalities; whereas this show begins with a long and teasing parade of individual appearances from the five hugely varied performers, each eyeballing the audience in his own inimitable way. And the second convention says that one show generally has just one audience. Here, the audience is divided in two by a huge white sheet across the stage, with evidently different things happening on either side. And that, again, provokes another divide, between those who are happy to watch their side of the show, and those who can't stop wondering what's happening over there; until at last, in a fine moment of theatrical madness, the curtain falls, and the audience joyfully becomes one. And from that point, the physical energy of the show almost literally goes through the roof, in ever more fabulous and breathtaking combinations of sound, music and movement. Themes and ideas flit through the mind – about unity and division, about othering and ceasing to other, about the astounding strength of human beings acting together, and about brilliant male role models for a century when we learn to play creatively, and to value that play, or we die. Mostly, though, we are just having a wonderful time; and feeling fortunate that we were there, to see this fantastic company performing at the height of their powers. The Pale Baron PIC: Phile Deprez Also hugely impressive, from Flanders, was Kopergietery's challenging show The Pale Baron, at the Traverse, in which Anna Vercammen and Joeri Cnapelinckx play Felkla and Felix, a pair of songwriter-musician working together in a place called The Underwater State. The state – like its great leader, The Pale Baron – values nothing but obvious usefulness, and hates artists and poets. Worse, it blames those not born in the State for everything; and Felka did arrive there, long ago, as a refugee. Advertisement Hide Ad Advertisement Hide Ad The contemporary resonances of the show are all too obvious, in other words. And Vercammen and Cnapelinckx's performance, as the shades of oppression close around them, is both all too credible, and punctuated by some truly brilliant rock music; in a show that may be a tad complex and inconclusive for some in the target audience of 8-14 year olds, but that seems vitally important for young teenagers growing up in today's increasingly authoritarian world. And there's just time, as the EICF 2025 curtain falls, to play tribute to English company Oily Cart's show When The World Turns, co-created with the Australian group Polyglot, and presented at Lyra in Craigmillar last week. Specially crafted for children with physical and leaning disabilities, the show leads us into a canopied pavilion transformed into a small indoor rain forest, full of rich green plants, forest sounds, and telling lighting effects, as we see our own bodies merge – at least in shadow-play – into the texture of the forest itself. It's an award-winning show, and justly so; a gem of an experience for youngsters with special needs, and reminder to all of us that when we humans talk about the natural world, we are also talking about ourselves, and our own capacity to survive and thrive.

Theatre reviews: Tongue Twister  Shades of Shadows  Saria Callas
Theatre reviews: Tongue Twister  Shades of Shadows  Saria Callas

Scotsman

time6 days ago

  • Scotsman

Theatre reviews: Tongue Twister Shades of Shadows Saria Callas

Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Tongue Twister, North Edinburgh Arts Centre ★★★★ Grown Ups, Traverse Theatre, Edinburgh ★★★ Shades of Shadows, The Studio, Edinburgh ★★★★ Saria Callas, Oran Mor, Glasgow ★★★ It's Children's Festival time; and at the sparkling new North Edinburgh Arts Centre, one of Scotland's leading makers of theatre for children, Greg Sinclair, is rolling out his latest show Tongue Twister. It's a remarkable show at many levels, both because it uses and reflects on language in ways that international theatre for children often tends to avoid, and because of the lavish, surreal energy of its visual and physical response to that verbal content. Advertisement Hide Ad Advertisement Hide Ad Tongue Twister | Imaginate Sinclair begins by telling us that he has been fascinated by tongue twisters ever since since his grandad taught him to say 'She sells sea shells on the sea shore"; and on designer Karen Tennant's luminous stage - backed by two huge sun-like circles in which words occasionally appear - he runs through a series of wild and hilarious visual variations on the theme, rolling around the stage in great frothy layers of sea-blue and white fabric. He goes on to to introduce tongue twisters in a dozen different languages, from Japanese and Swahili to Gaelic, riffing merrily, for example, on images suggested by the French tongue-twister 'dans ta tente ta tante t'attend'. In the end, what Sinclair and his team create is a glorious 50 minute tribute to that wonderful, universal, playful moment when human beings pause in the grown-up business of dealing with the content of language, and begin to amuse themselves by toying with the forms of it. And Tongue Twister not only celebrates that moment, but explodes it into whole episodes of visual and verbal silliness, as wild and surreal as they are funny, and joyfully human. Grown Ups | Imaginate If Greg Sinclair is a children's theatre maker who works by effectively becoming a child for the length of the show, I was also struck by two EICF shows, this week, which invited children to laugh (which they did, most heartily) at the sight of adults making a complete hash of being grown up. Advertisement Hide Ad Advertisement Hide Ad Grown Ups, by the Compagnie Barbarie and Bronks of Belgium, is a slightly overlong but brilliantly staged piece pf slapstick about a team of four grown women failing to cope with a series of mysterious water leaks onto the stage. Shades of Shadows at The Studio, meanwhile - by Tangram Collective of France and Germany - is an exceptionally beautiful and clever shadow-play piece about two women trying to sit down for a cup of tea together, that had the children in the audience chortling with pleasure, for a blissful 45 minutes. Shades of Shadows | Florian Feisel And out beyond the children's festival, this week's Play, Pie and Pint drama came as a harsh reminder of how repressive societies can simply forbid essential forms of play and creativity, including those as basic as singing and dancing. In Sara Amini's powerful but awkwardly structured monologue, Saria Callas, she plays an Iranian woman brought up under the repressive rules of the Islamic Republic, yet as rebellious as any teenage girl, and desperate to become a singer. As an adult, and a single mother in London, she finds that her beloved son has inherited her love of performance, and - like her - wants the freedom to express himself as he is, whatever the cost. And although Saria's story takes a while to reach this crisis-point, there's no doubting the tremendous strength and charisma of Amini's performance, as a woman not only inspired by the greatest singers of both Iranian and European culture, but fully capable of making the same kind of impact on an audience, given half a chance.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store