Review: To many the ultimate rom-com, Pretty Woman: The Musical has arrived in Glasgow, with a dazzling production and high-calibre cast.
Join us as we highlight reviews from the world of music, opera, dance theatre and film.
Review: National Theatre’s critically acclaimed adaptation of Neil Gaiman’s The Ocean at the End of the Lane has arrived at Glasgow’s King’s Theatre as part of its 2023 UK tour.
Review: Pedro Calderón de la Barca’s 1636 comedy Life Is a Dream gets a playful, surreal treatment that toys with our sense of reality in Edinburgh International Festival’s Lyceum production.
Review: Unchanged, Jake Bugg’s basic approach has the Edinburgh crowds loving his set of song-nuggets in his International Festival outing at the city’s Playhouse.
Review: Cellist Abel Selaocoe performs a dazzling solo showcase of the seemingly-limitless depth of his talent, and the sonic possibilities of his instrument, at Edinburgh International Festival venue The Hub.
Review: Premiered in 1944, Michael Tippett’s A Child of Our Time mixed musical and cultural traditions to devastating effect in an all-embracing, ambitious oratorio, now performed as part of this year’s Edinburgh International Festival by Sir Andrew Davis, RSNO and Edinburgh Festival Chorus.
Review: Dublin-based band Lankum forge an atmospheric, at times near-terrifying beauty, inspired by dark folk tradition, at Edinburgh’s Queen’s Hall.
Review: American soprano Julia Bullock and pianist Bretton Brown perform a range of inspiring and empowering songs at Edinburgh’s Queen’s Hall.
Review: Vigorous European trio Amatis join baritone Thomas Quastoff at Edinburgh’s Queen’s Hall for stark vignettes from the Great War and beyond.
Review: Edinburgh International Festival: a production of Trojan Women deftly unites the old and the new, east and west, emphasising the pain of war.
Review: Tenor Ilker Arcayurek stands-in for Gunther Groissböck at short notice, but succeeds in wowing a sold-out Edinburgh International Festival Queen’s Hall audience.
Review: Christiane Jatahy’s Edinburgh International Festival production at the Lyceum Theatre ‘Dusk’ attaches a disturbing contemporary relevance to the themes in Lars Von Trier’s movie ‘Dogville’.
Review: Bracing performances from Stefan Jackiw on violin and top-flight musical friends make for an invigorating experience at Edinburgh’s Queen’s Hall.
Review: Edinburgh International Festival: Cécile McLorin Salvant leads us on a murderous musical journey, while posing some serious questions.
Review: A highlight of Celtic Connections’ concert programme, Afro Celtic Connections raised the roof of St Lukes with a joyous and vibrant evening of African talent – all based here in Scotland.
Review: The Royal Scottish National Orchestra and Children’s Classics Concerts (Scotland) joined forces to create a special Christmas family treat in The Night Before Christmas, featuring ballet dancing and a big band.
Review: A 16 year-old American romantic comedy is given a new lease of life by a concert hall tour with live orchestra playing Hans Zimmer’s score. Artmag attended the screening at Glasgow Royal Concert Hall.
Review: With the time for festivities upon us, in Glasgow there’s no better way to start than with the annual King’s Theatre Christmas panto.
Review: Artmag contributor Jelena Sofronijevic talks to Natasha Stanic Mann and Jaka Škapin, who recently featured in London’s VOILA! EUROPE festival – about performing in the UK, their post-Yugoslavian background, and an ever-turbulent Europe.
Review: Jen Silverman’s charming, rough-and-ready, Hallowe’en-y take on Charlotte Brontë’s work at the Hope Theatre, above London’s Hope and Anchor pub.
Review: At Hammersmith’s Lyric Theatre, Sophie Melville’s one-woman turn as Iphigenia in Splott – a district of Cardiff – more darkly relevant than when it debuted seven years ago.
Review: A darkly unbalanced relationship rises to the fore on a pilgrimage to build a church, in Hlynur Pálmason’s ‘Godland’, showing as part of the BFI London Film Festival.
Review: London’s newest theatre begins its new season with a resurrection, in Peter Oswald’s dramatic verse, of German writer Friedrich von Schiller’s last, unfinished play about power in Russia and Poland.
Review: Irish comedienne Joanne McNally’s one-woman show is a playful take on being left-behind in her thirties.