Month: September 2025

Wallace

10/08/25

Traverse Theatre, Edinburgh

“The Scottish can’t rap!”

Thus proclaims one of the three-strong cast of Wallace, shortly before they launch into their opening salvo and prove that – hell, yes – they really can! This intriguing production, which launches the autumn season of A Play a Pie and a Pint, is obviously inspired by the success of Hamilton. It proudly proclaims that Scottish history is just as deserving of a contemporary retelling as anything that ever went on in the USA and, in that ambition, it succeeds big time.

Three friends chatting over drinks in a bar become extra-animated when one of them claims to be an actual descendent of William Wallace – you know, the guy from Braveheart. This is the precursor to a deep dive into the hero’s history, as the three players musically discuss the known facts, the probable myths and even the possibility that (whisper it) WW might not have existed.

Written by Rob Drummond, with music and lyrics by Dave Hook (who also performs alongside Patrica Panther and Manasa Tagica), Wallace offers an audacious exploration of Scotland’s most celebrated warrior, all backed by a pumping four-four beat. The trio of performers switch effortlessly between characters merely by throwing on a jacket or a hat, depicting Wallace’s supporters as well as those who fought against him in his doomed bid for Scottish independence.

Hook stays in the role of Wallace, while Tagica does a splendid job of portraying Edward Longshanks, complete with dark glasses and a red fur coat. Panther, after pointing out that women have been virtually written out of history, takes on the swaggering persona of Robert the Bruce with evident relish.

Whip-smart, caustically funny and actually pretty informative (I come out knowing a lot more about the titular Scot than I previously did), Wallace snaps from song to song and from argument to argument like the proverbial tiger on vaseline, holding the audience spellbound right up to the final triumphant chord. Snappily directed by Orla O’Loughlin, this is a perfect example of how to make history vibrant and compelling enough to dazzle a contemporary audience.

It’s pure dead brilliant.

5 stars

Philip Caveney

Inter Alia: NT Live

07/09/25

Cineworld, Edinburgh

What Suzie (Miller) Did Next was bound to garner a lot of attention. The mega-success of Prima Facie, starring the inimitable Jodie Comer, has catapulted the Aussie playwright into the limelight, and left the theatre world waiting with baited breath to see what else she has up her silk sleeve.

Inter Alia, a three-hander starring Rosamund Pike, serves as a kind of companion piece to the 2019 monologue, this time examining the legal system’s response to sexual assault from the vantage point of the Bench. Pike plays Judge Jessica Parks, a high-flying professional, juggling work and family life. She’s got the drive and energy to give both her all, but there’s no escaping ‘mom guilt’, however feminist you are. Still, she and her barrister husband, Michael (Jamie Glover), seem to be managing well: their teenage son, Harry (Jasper Talbot), isn’t exactly happy – he doesn’t really fit in at school and is the victim of some mild bullying – but he’s generally okay, mooching through his days and studying for A levels. He’s a gentle, sensitive boy, nothing like the entitled defendants Jess encounters in court, with their swaggering justifications for rape…

Until, one fateful night, when the ideals Jessica has long-espoused are suddenly called into question, along with her integrity. Who is to blame when a floundering young man commits a crime? And is it possible to be guilty and innocent at the same time?

Prima Facie‘s director, Justin Martin, is back on board for this follow-up polemic, and it’s just as gorgeously kinetic as the earlier piece, perfectly encapsulating the frantic nature of Jess’s life as she hurtles from conviction to kitchen, from case files to karaoke. The set, designed by Miriam Buether, is ingenious, a combination of the domestic and the professional, with props, costumes and doorways cunningly concealed in the kitchen units. At key moments, a wooded park is revealed beyond the dominant interiors, a glimpse into the outside world – both real and online – where Jessica isn’t in control, and which Harry has to learn to navigate for himself.

This is a gentler play than its predecessor, but no less audacious or thought-provoking. Pike is extraordinary in the lead role, and ably supported by her fellow actors. Miller doesn’t offer any easy answers or let anyone off the hook, but she expertly straddles the fine line between trying to understand assailants without diminishing their victims. Like those around us, we leave the cinema deep in discussion, trawling through our own experiences, trying to work out what we would do in Judge Jessica’s place.

I’m still not sure. But I do solemnly, sincerely and truly declare and affirm that Inter Alia is another searing commentary on our times, and – as such – another must-see from the National Theatre.

5 stars

Susan Singfield

Nixos

06/09/25

Brougham Street, Edinburgh

6, Brougham Street has been a special place for us ever since we moved to Edinburgh. Back in 2015, when we first ate there, it was My Big Fat Greek Kitchen, a decent enough venue, though we observed at the time that the food was somewhat let down by its presentation. In 2017, it took a major step up when it became Taxidi, owned by chef Dimitri, and offering a remarkable selection of traditional Greek dishes at great value prices. In 2024, Dimitri went for a major transformation with Mitsos: Serial Griller, changing the format completely, but triumphing once again with a strikingly different approach to Greek cuisine, all freshly cooked to order on a giant grill.

Now the premises is under new ownership, has been rebranded as Nixos, and looks very different. The premises have been beautifully redecorated, making the place feel lighter and roomier than ever before. It keeps the Greek theme but puts the emphasis firmly on street food, centred mostly around the Gyros (pronounce eros): a combination of freshly-baked flatbread, filled with your choice of meat, cheese or vegetables, mixed with salad and tzatziki, then liberally augmented with fries. The idea is to pick up the entire thing and wolf it. Dainty eaters should be warned that the cutlery here is of the disposable wooden variety, so it’s best to conquer your inhibitions and chow down.

We order two different gyros. Susan goes for chicken and I opt for halloumi and, it turns out, the service is lightning-fast. Our meal arrives almost before we’ve had a chance to draw breath.

Okay, so this isn’t the place to come for a long, relaxing meal – we’re all done and dusted in half an hour – but the food is undeniably delicious, the halloumi wrap in particular generously stuffed with large chunks of perfectly grilled cheese. (Gyros are difficult to photograph. Our attempts really don’t do them justice.) We share a bowl of kalamata olives, which are spot on and we also sample a couple of Greek soft drinks in lemon and sour cherry flavours, but beers and wine are available for those who indulge. There’s currently no sweet menu (something which I’m told the owners are thinking about) and we cannot argue with the bill which comes in at less than £30 for the two of us.

We will doubtless eat this food again, but perhaps next time as a takeaway, a tastier (and healthier) alternative to pizza – unless of course, that sweet menu happens to make an appearance. If you haven’t yet sampled the handful of heaven that is a gyros, here’s your perfect opportunity.

4 stars

Philip Caveney

Caught Stealing

04/08/25

Cineworld, Edinburgh

If Caught Stealing seems an unusual choice of genre for director Darren Aronofsky, it quickly becomes clear that, although all the usual action-thriller components are in place, this is a good deal more cerebral than the average punch ’em up. Set in New York City in the late 1990s, it’s a story with more than its fair share of stressful situations, all of them heaped upon the shoulders of its central character, Hank (Austin Butler), and palpably passed on to anyone who happens to be watching. Baseball aficionados will know that the film’s title is a reference to the sport Hank is obsessed with and which he played in his youth.

Our antihero is now a booze-loving barkeep at a small, rowdy joint on the Lower East Side. His girlfriend, paramedic Yvonne (Zoë Kravitz), is clearly looking for more commitment from him but something in his past – a tragic incident that we keep catching unsettling glimpses of – is preventing him from offering it. And why does he make such a fuss about phoning his Mom in California every single day?

When his British punk neighbour, Russ (Matt Smith), has to head home to visit his sick dad, he asks Hank to look after his cat, Bud. Hank happily obliges but shortly thereafter a duo of aggressive Russian hoodlums arrive looking for Russ. When Hank is unable to tell them anything about his missing neighbour, they administer a brutal beating, which leaves Hank in hospital, minus a kidney. But his troubles have only just begun.

Once home, he contacts Detective Elise Roman (Regina King), who tells him that he’s inadvertently been dropped into the middle of a very complicated situation, with different factions trying to get their mitts on a heap of stolen cash. She tells him that, if Hassidic hitmen Lipa and Schmolly Drucker (Liev Schrieber and Vincent D’Onofrio), should happen to turn up, Hank must get in touch with her immediately, if he wants to stay alive…

From this point the story accelerates like an out-of-control vehicle, hitting everything in its path with brute force and, much like Hank, we feel each impact along the way. The action is accompanied by Rob Simonsen’s raucous score (recorded by post-punk band, Idles). The New York locations are expertly utilised, the physical damage unflinchingly conveyed and Butler is utterly compelling in the lead role, making us care enough about his character to really share his anguish as every fresh person he meets seems intent upon his destruction. Charlie Huston’s edgy script is adept at getting me to make assumptions, only to dash them gleefully in my face.

When Russ finally bobs back into view, Smith manages to somehow make him both appealing and despicable. Bud the cat (played by Tonic) is really cute, a strong enough presence to ensure that he gets to star in the film’s kooky end credits. Unlike many films of this ilk, Caught Stealing manages to steer its way to a satisfying – and for once, fairly believable – conclusion.

Just make sure you stay in your seats until the very end.

4.4 stars

Philip Caveney

The Thursday Murder Club

01/09/25

Netflix

Oh dear. The first film of the month and it’s a stinker. I haven’t read Richard Osman’s best-selling novel (cosy crime isn’t really my thing) but I’m sure it deserves a better adaptation than this. His podcasts (which I do listen to) show him to be clever and erudite. This movie is neither.

All the right pieces are in play: popular source material, a stellar cast, the prettiest of English villages. There’s even cake – but sadly not enough to sweeten this twaddle.

The Thursday Murder Club comprises four wealthy pensioners: Elizabeth (Helen Mirren), Ibrahim (Ben Kingsley), Ron (Pierce Brosnan) and Joyce (Celia Imrie). They live in a stately home called Coopers Chase, which has been converted into the the most luxurious retirement apartments imaginable, and pass their time investigating the cold case files their fellow resident, Penny (Susan Kirkby), a former detective, has somehow managed to hold onto.

But when money-grubbing landowner, Ian Ventham (David Tennant), reveals his plans to redevelop Coopers Chase, murder is no longer confined to the past. The privileged pensioners can barely conceal their glee at having something real to get their dentures into, much to the dismay of local police officers, Chris Hudson (Daniel Mays) and Donna de Freitas (Naomi Ackie).

Amidst the lightweight sleuthing, some serious issues are raised, including people-trafficking and dementia. But these are hopelessly out of place, treated so glibly that it feels very uncomfortable. There’s some real snobbery at play here too, presumably unconscious: the working-class-man-made-good with his loud voice and tacky McMansion; the upper-class oldies with their mellow tones and oh-so-tasteful decor.

I want to find nice things to say because it’s Helen Mirren, for God’s sake. But hers isn’t even the most wasted talent – at least she’s in a lot of scenes. The wonderful Ruth Sheen barely gets a look in as Aunt Maud. (What’s the purpose of this character? She adds nothing to the plot.)

To quote a catchphrase that’ll only mean something to Gen X, here’s my suggestion: Just Switch Off Your Television Set and Go and Do Something Less Boring Instead.

2 stars

Susan Singfield