11 April 2017

Stef Smith’s GIRL IN THE MACHINE opens at the Traverse Theatre

Stef Smith’s GIRL IN THE MACHINE opens at the Traverse Theatre

Stef Smith’s latest play was first performed in an early version, script-in-hand, as part of the Breakfast Plays series during Traverse Festival 2016. The full length show is directed by Traverse Artistic Director Orla O’Loughlin and plays in Edinburgh until the 22nd April. 

Edinburgh News ★★★★★

“a sinister story of love and addiction that revisits age old themes whilst thrusting them into a dystopian digital future in which the very essence of humanity, the human spirit, can be uploaded to ensure immortality.”

“thanks to Smith’s cut to the chase dialogue, the horrors of what that could ultimately entail is a far more viscerally realised.” 

“A new piece of writing then, one that offers an hour and a quarter of theatrical bliss.” 

The Guardian ★★★★ 

“In Stef Smith’s gripping two-hander, a piece of dystopian sci-fi in the manner of Charlie Brooker’s Black Mirror, flesh-and-blood humanity is not easily contained.”

“Smith tunes in to several of our contemporary concerns, including the centralising control of big data and the blur between work and home in an always-on digital world. She anticipates the ethical dilemmas that lie ahead, when we cross the divide between man and machine.”

“There’s more going on here than pure technophobia, however. Although The Girl in the Machine has an apocalyptic air, and plays on our fear of some malicious corporate unknown, it also considers the possibility of resistance and redemption.”

Exeunt Magazine 

“an emotionally and intellectually intense two-hander about the shifting nature of our relationships to technology and human bodies.”

“a narrative that is at once both familiar and terrifying.”

“offers an interesting critique of recent movements towards integrating technology and ideas of “wellness”” 

“That Girl in the Machine exists and that Stef Smith has written it feels like a big deal, an event that this institution is thoroughly invested in.” 

Herald Scotland ★★★★ 

“resembles an episode of dystopian TV series Black Mirror, but with a poetic heart worthy of Ray Bradbury at his warmest.” 

“a show that hums and throbs”  

The Stage ★★★★

“Smith invests this world with a rare intensity”

“There is a solid emotional base to the piece; it has a real authenticity, while the encroaching technological nightmare rings horribly true.” 

“haunting and prescient”

Edinburgh Guide ★★★★ 

“Girl in the Machine holds up a vision of the future that poses vital questions of our time about dependence and addiction; about whether the virtual is valued over the real. This is a play that gets in to your head.” 

The Times 

“Smith’s script is poignant about the ways in which we neglect what is right in front of our eyes in favour of that which is mediated or enhanced.”

“Sydney and Dylan respond to Smith’s careful delineation of the wonders and limitations of love with tender and moving performances.”

The Scotsman

“Stef Smith’s tense, engaging two-hander” 

“the play manages to covey the sense of a still more frightening world beyond.”

“While our humanity is the thing that tears us apart, this thoughtful play suggests it is also the one thing capable of putting us back together.”

06 April 2017

Outstanding Lighting Nomination for Amy Mae

Outstanding Lighting Nomination for Amy Mae

Amy Mae's Lighting Designs for Sweeney Todd (Barrow Street Theatre, NYC) have been nominated for a Lucille Lortel Award - celebrating the best in Off-Broadway theatre. 

Sweeney Todd (Set and Costume Design by MLR client Simon Kenny) has the largest nominations this year, with 7 - including for Best Musical Revival. 

The winners will be announced on May 7th - fingers crossed for Team Sweeney and Amy!


01 April 2017

James Fortune is Composer on THE CONQUEST OF THE SOUTH POLE at Liverpool Everyman

James Fortune is Composer on THE CONQUEST OF THE SOUTH POLE at Liverpool Everyman

Manfred Karge’s 1984 play is directed by Nick Bagnall and plays in Liverpool until the 8th of April.

The Guardian ★★★★

“it is impossible not to be moved by these dreamers’ determination and their moment of triumph.”

“a playful revival”

The Stage ★★★★

“Vivid revival”  

The Reviews Hub ★★★★

“entertaining, emotive and capturing the imagination of its audience with play and storytelling.”

20 March 2017

Tom Piper is Designer on HAY FEVER at the Edinburgh Lyceum

Tom Piper is Designer on HAY FEVER at the Edinburgh Lyceum

Dominic Hill directs Noël Coward's comedy, playing in Edinburgh until the 1st April before moving to the Citizen's Theatre in Glasgow. 

Edinburgh Guide ★★★★ 

“the set for this production from Tom Piper is of lugubrious brown with utterly authentic looking furniture that’s lit with a 30 watt feel of the time. The attention to detail results in a faithful period rendition not least in the utterly gorgeous and immaculately created costumes that are the sartorial icing on that cake.”

The Times ★★★★

“Tom Piper’s set design provides just enough detail to convey the comfortably moth-eaten atmosphere of the Bliss residence.”

The Edinburgh Reporter ★★★★ 

The Stage

“comic splendour”

“crisp production” 

The Herald Scotland ★★★★ 

“Tom Piper's exquisitely exposed set” 

Edinburgh News ★★★★ 

“amid the deconstructed grandeur of Tom Piper’s skeletal Bliss family home” 

“certainly a staging not be sneezed at.”

17 March 2017

Tim Jackson is Choreographer on STEPPING OUT in the West End

Tim Jackson is Choreographer on STEPPING OUT in the West End

Maria Friedman directs Richard Harris’ 1908s musical, starring Amanda Holden and playing at the Vaudeville Theatre until 17th June.

London Theatre 1 ★★★★★ 

“a truly delicious slice of comedy writing.”

“keeping us engaged and hooked from the modest church hall beginnings to the toe-tapping, sparkling finale.” 

“brilliant, feel-good choreography from Tim Jackson. Stepping Out is really not to be missed – step on up to the Vaudeville to catch this sparkling gem of a show.”

Telegraph ★★★★ 

Broadway World ★★★★

“spot-on, witty choreography from Tim Jackson” 

“this Calendar Girls-meets-Chorus Line piece is inarguably successful as toe-tapping, big-hearted entertainment, and should join Strictly in getting Britain's dance classes packed out.”