Edinburgh

Anna Karenina

21/05/23

Lyceum Theatre, Edinburgh

As dares go, this one – from Scottish writer Lesley Hart to British-Russian director Polina Kalinina – has turned out rather well, resulting in this sparky adaptation of Tolstoy’s classic novel. It certainly disproves Kalinina’s original contention that Russian texts tend to “lose vigour and immediacy in translation”: this piece is both vigorous and immediate.

The plot is well-known. Anna (Lindsey Campbell) – bored society wife and loving mother – visits her sister-in-law Dolly (Jamie Marie Leary)’s family estate, hoping to persuade her to forgive Anna’s feckless brother, Stiva (Angus Miller), for his affair with a governess. But it’s a fateful visit, because it’s here that Anna meets Vronsky (Robert Akodoto) – and embarks upon a tumultuous affair that will have a terrible impact. The story is pared back here, of course – four-hundred-thousand words of prose are condensed into a tight two-and-a-half-hours of drama – and it’s all the better for it. The book’s lengthy histrionics are economically conveyed by Xana’s deliberately grating sound design, which feels akin to being in a dentist’s chair, the screeching somehow inside your head. It’s not pleasant, but it’s strikingly effective.

Hart’s script highlights the biting unfairness of a patriarchal order, where Stiva’s many sexual transgressions cause him only minor trouble when they’re revealed, while Anna’s single affair turns her into a social pariah, shunned by her former peers, and – most painfully – banned from seeing her own son (played tonight by Noah Osmani). Her tragic end, prefigured by a brutal train accident at the start of the play, hangs literally over her head throughout: Emma Bailey’s stark design is dominated by this sword of Damocles, a huge screw-like ceiling pendant, each action causing it to turn another notch, embedding itself into Anna’s heart.

I love the urgency of the opening: a dinner party tableau that stutters and lurches into life. The characters are boldly drawn and instantly recognisable, from Karenin (Stephen McCole)’s supercilious reserve to Stiva’s self-indulgence and Levin (Ray Sesay)’s naïve modesty. The sliding screen upstage is ingenious too, opening to reveal a snowy railway platform, or pastoral wheat fields that seem to offer the hope of a simpler life.

Campbell’s Anna is a believable creation, beautiful and confident and relatively content – until she’s blindsided by her attraction for Vronsky. The tragedy here is as much about the corruption of their love as it about her death. What they have is real, but it’s destroyed by social mores and jealousy. It’s not their relationship that ruins Anna; it’s the stifling rules we humans impose upon ourselves.

So is Tolstoy still relevant and appealing in the twenty-first century? If this Royal Lyceum and Bristol Old Vic production is anything to go by, the answer is a resounding yes!

4.2 stars

Susan Singfield

Bar + Block Steakhouse

17/05/23

Princes Street, Edinburgh

Whitbread’s Bar + Block is the kind of restaurant that those of us with foodie pretensions like to dismiss: it’s a chain; it’s attached to a Premier Inn. The food is bound to be pre-packaged, we tell ourselves; it’s surely a soulless place. But even we have to admit that this Edinburgh branch, situated on Princes Street with its iconic view of the castle, is very nicely styled. It looks inviting. And, after a morning of shopping (which is absolutely our least favourite kind of morning), we find ourselves drawn to the lunch and early dinner menu advertised in the window. Three courses for £14.95? It’s hard to resist.

The menu is short, but reads well. Philip starts with Korean chicken wings, which are charcoal cooked and generously flavoured with barbecue sauce and chilli. I have the tomato bruschetta, which isn’t perhaps the most exciting choice, but I just love tomatoes, and I like the sound of the the stone-baked flatbread they come on. As expected, it tastes good, enhanced by a sweet balsamic-heavy dressing.

For his main, Philip chooses the steak sandwich with fries. This looks really attractive, and he’s pleasantly surprised by the quality of the meat, which surpasses his expectations for this price point. It’s served on more of that stone-baked flatbread, and garnished with cheese, onions, tomato and rocket. The chips aren’t great – just frozen skinny fries – but they’re piping hot, which makes them edible at least. I have the seabass fillet, which comes with a delicious Greek salad and – yes, you’ve guessed it – a piece of stone-baked flatbread. Apart from the over-reliance on that particular carb, this is a pleasant dish: the fish is well-cooked, the skin pleasingly crispy, and the salad is generously strewn with feta cheese.

Do we have room for pudding? You bet we do. I have the Eton Mess sundae, a pleasing concoction of berries, ice cream, cream and meringue, while Philip opts for a triple chocolate brownie, served warm with vanilla ice cream. Both slip down far too easily.

Add in a couple of alcohol-free drinks (a Peroni and a Rekorderlig fruit cider), and we’re feeling pretty satisfied. Okay, so our assumptions haven’t exactly been disproved: Bar + Block is exactly what we knew it would be. But the service is pleasant, we’ve had a decent lunch, and it hasn’t cost us much. I’m not sure we’ll be in a rush to return, but I’m glad we’ve given it a go.

3 stars

Susan Singfield

Sichuan House

08/05/23

George VI Bridge, Edinburgh

There are all kinds of reasons for deciding to visit an unfamiliar restaurant. It could be a friend’s recommendation; a well-timed discount offer; an enticing smell issuing from an open doorway. In the case of Sichuan House, the main motivator is my eyes. Walking along George IV Bridge to my regular writing haunt, The National Library of Scotland, I keep passing the window of the venue where I can’t fail to notice the crowds of (predominantly Chinese) customers, enthusiastically chowing down on a succession of enticingly vibrant meals. The food looks quite different from the kind of Mandarin cuisine I’m familiar with.

So, after a long and tiring drive from North Wales to Edinburgh, on an evening when neither of us feel like cooking, I suggest we might call in there and try it out. It’s around seven thirty on a bank holiday Monday when we rock up and the place is already buzzing. A charming waiter leads us to a vacant table by the window (as far as we’re aware, you can’t book in advance) and hey presto! We’re the people chowing down as passers-by gaze enviously in.

We start by sharing a plate of pork and chive dumplings, a deceptively simple meal, ten soft parcels stuffed with a delicious savoury filling and served with a bowl of black vinegar, into which said parcels can be dipped. To say that they’re delicious would be something of an understatement. They are among the best I’ve ever tasted, absolutely bursting with flavour.

For the main course, Susan chooses prawns with ginger, and that’s pretty much what arrives – a generous serving of large, juicy prawns in a glutinous savoury sauce, which includes lashings of slow cooked onions and crispy spring onions. As you might expect there’s a rich punch of ginger in there and once again, this is a perfectly executed dish.

The same can be said for my sizzling beef with chilli, tender chunks of meat in a rich sauce which features red and green peppers and again those wonderfully gloopy onions. As you’d expect the course is fiercely spiced, just enough to give that wonderful warmth at the back of the throat (and even to clear the sinuses), but not so severe that the effect becomes too overwhelming.

We also share a portion of egg fried rice and though this is entirely familiar, it’s been expertly prepared, with not a hint of greasiness about it.

Despite being right in the middle of Edinburgh’s tourist route, the food is very reasonably priced. Sichuan House may not be the venue for a lavish, family occasion, but for those seeking authentic Chinese cuisine at great value prices, this is a great place to look for it. We’ll be back – and next time, we’ll make sure we’ve left enough room for more.

4. 4 Stars

Philip Caveney

Fava

30/04/23

Morrison Street, Edinburgh

Fava has been on our radar for quite a while. We’re fans of Greek cuisine and every time we walk past their attractive premises on Morrison Street, we say, ‘We must try that place soon.’ So when I notice a My Ideals offer, which pretty much buys us a meal at half the usual price, it’s a no-brainer.

It’s 7.45pm on a Sunday evening and the place is bustling with diners. The staff are friendly and the atmosphere convivial, even if the combination of a high ceiling and the inevitable jangling bouzouki soundtrack makes conversation difficult. For starters, we choose to share a baked feta cheese and a Fava salad. The latter is delightful: handsomely presented with edible flowers, it’s a tasty mix of avocado, cucumber, leaves and pomegranate, drizzled with a honey and mustard dressing. The feta is delicious too, flavoured with oregano, tomato, peppers and chilli, but I’m rather less enthused by the presentation. The feta has been baked on a sheet of foil, which means that a lot of it adheres to the backing and proves very, VERY difficult to separate. Of course, we’ve ordered a side of pitta bread (there has to be pitta bread, right?) and this is also nicely done – salty and buttery, just as we like it.

For my main course, I’ve chosen Kleftiko – a generously-sized slow-cooked lamb joint, flavoured with lemon and rosemary, the flesh so succulently tender it comes effortlessly away from the bone with the merest touch of a knife. It’s served with subtly spiced rice (though you can opt for new potatoes, if preferred). Susan has the Kotopoulo Lemanato, a tender chicken fillet, delicately seasoned with lemon, garlic and olive oil. This is accompanied by rice and salad. Both dishes are accomplished and we make short work of them.

For the pudding, it has to be the Portokalopita – a traditional Greek honey and orange cake, which we decide to share as we’re really quite full from the main courses. Not only does does this particular sweet feature prominently in the novel I’m currently editing (so it seems like a good omen) but it’s already a long established favourite of mine. Again, it’s nicely executed, the soft sponge oozing the zesty mixture it’s been liberally doused with. A scoop of Greek yoghurt ice cream makes the perfect accompaniment.

All in all, Fava is a pleasant place to dine: it’s lively and accommodating and the food’s good too. Throw in that My Ideals offer (still available at time of writing) and it’s simply too good to miss.

4.2 stars

Philip Caveney

Family Tree

05/04/23

Traverse Theatre, Edinburgh

Henrietta Lacks is not a household name – but she should be. The cervical cancer that killed her also produced one of the most important cell lines in medical research, HeLa. Harvested from her tumour without consent, Lacks’ immortal cells (which continue to divide when most would die) have been crucial in the development of the polio vaccine, AIDS and cancer treatments, IVF and more. She died in 1951, but her cells live on, even proving invaluable in the fight against COVID.

So why haven’t we heard of her? The answer is sadly obvious: because she was a Black woman.

Mojisola Adebayo’s play sets out to right this wrong, to give Lacks the recognition she deserves. It also raises some very important questions about consent and compensation. This isn’t just an historic issue. Sure, the USA now has the ‘Common Rule’ clarifying the principles of ethical research, but certain biotech companies have made huge profits from patenting HeLa cell products – and none of the money has ever found its way to her descendants.

Directed by Matthew Xia, Family Tree is a challenging and confrontational piece of theatre, Adebayo’s writing poetic and arresting. Lacks (Aminita Francis) rises from her grave to undo her erasure, to demand we hear her version of the tale. She’s not alone in the graveyard: three slave women also rest there, finally at peace after enduring years of intrusive experimentation at the hands of the so-called father of modern gynaecology, Dr J Marion Sims. There are three Black NHS nurses too, felled by the pandemic in 2020. Ain (Mofetoluwa Akande) is full of righteous anger, mostly against the ‘Why People’ who claim to be allies until it’s inconvenient. Lyn (Aimée Powell) and Bibi (Keziah Joseph) are quieter and more philosophical, the latter using the leisure time that death affords her to finally read Toni Morrison. Although Lacks’ is certainly the most compelling narrative – she is, quite literally, centre stage – the other women’s stories are important too, contextualising Lacks’ experiences, and showing how she is just one link in a shocking, still ongoing chain. The actors are all electric, their performances poised and bold, intense and heartfelt.

However, despite the painful subject matter, this is not a piece of trauma porn. Although the story is about the horrendous ways Black women have been abused, Adebayo also shows the women’s strength and joy, turning them into dancing goddesses, recognising them for the queens they are.

4.3 stars

Susan Singfield

The Spark

04/04/23

Traverse Theatre, Edinburgh

It’s hard to believe it’s taken until now – the 2020s – for the term ‘perimenopause’ to enter popular discourse, although, ironically, my computer has just underlined it in red, signalling an unknown word – so maybe we’ve still got a way to go. Nevertheless, we’re moving inexorably away from hushed murmurings about ‘the change’ and oblique references to ‘hot flushes’, and instead naming all of the physical and mental symptoms of this life-altering process. It turns out it’s not just your periods petering to a halt. No such luck. Instead it’s some or all of the following: joint pain, exhaustion, menstrual cramps, decreased (or increased) libido, mood swings, anger, vaginal dryness, brain fog… it’s quite the gut punch. Almost literally.

In The Spark, playwright Kathy McKean explores the impact of the perimenopause on a politician. Robin (the brilliant Nicole Cooper) is struggling in a system that seems designed to constrain her. And whereas, in her younger years, she might have bitten her lip and done what needed to be done in order to get ahead, she’s at ‘that age’ now, and the fuck-it factor has set in. No, she won’t stand by while a group of men harass a young girl at a bus stop. No, she won’t deliver the anodyne presentation her speech-writer, James (Johnny Panchaud), has concocted – a bowdlerised version of her own from-the-heart first draft. No, she won’t accept that she’s powerless to affect change. Because otherwise, what’s it all for?

Directed by Gordon Barr, the three actors effortlessly illuminate the chaos inside Robin’s head, as her adversarial discussions with both James and her long-suffering GP, Maggie (Beth Marshall), build to a cacophony. Maggie’s got enough problems of her own – and she blames Robin for some of them. After all, Robin was, until recently, the minister for health. She knows how over-worked the nation’s doctors are; how can she possibly think Maggie has time to deal with what seems on the surface like a pretty bog-standard set of symptoms? Except that Robin’s menopausal heat seems to manifesting itself outside her body, and who knows where that will end…

The writing here is sharp and the delivery fast-paced and engaging. The Spark seems like a fitting finale to what has been a particularly strong season of A Play, a Pie and a Pint. It’s not perfect – it’s a simple idea that builds well at first, but doesn’t deliver the shocking crescendo it perhaps should, and maybe takes aim at the wrong target (I can think of many institutions more deserving of a middle-aged woman’s ire than the parliament at Holyrood). But it’s good to see this subject aired, and in such a witty, thought-provoking way.

4 stars

Susan Singfield

Castle Lennox

31/03/23

Lyceum Theatre, Edinburgh

The titular Castle Lennox is a hospital, but not as we know it. Places like this – providing long-term residential care for people with learning disabilities, shutting them off from the outside world – no longer exist. Here, playwright Linda McLean explores the pros and the cons: the deep, affecting friendships forged and the toxic regime, rife with bullying.

It’s 1969 and teenager Annis (Emma McCaffrey) is proving too much of a handful for her stepmother (Fletcher Mathers). Annis is lively, independent and full of fun, and she also has a learning disability, which means she’s eligible for enrolment at Castle Lennox. Simultaneously entranced and terrified by its fairytale appearance, Annis enters with hope as well as trepidation. But the staff nurse (Mathers again) takes against her, and – as the years tick inexorably by – Annis’s spirit seems to be quashed. Thankfully, there are also some moments of joy, such as her tentative romance with fellow patient, William (Gavin Yule) – but is she too institutionalised to cope when, twenty years later, Castle Lennox finally closes down?

Castle Lennox, directed by Maria Oller, is a joint production between the Lyceum and Lung Ha, Scotland’s leading theatre company for learning disabled actors. It’s a superb example of how empowering and inclusive drama can be, a cleverly-woven narrative that both supports and enables its fine cast, as well as engaging a sold-out house. McCaffrey shines in the lead role, but fellow actors Yule, Emma Clark (Jo) and Nicola Tuxworth (Marie) also stand out, the latter clearly relishing her devilish character.

But, although the individuals are great, it’s the choral scenes that really make this piece. Movement director Janice Parker creates a bold dynamic, evoking the cheerful chaos of the laundry and Saturday tea parties, and the performers are all absolutely on their game, singing and dancing with gusto and aplomb. BSL interpreter Rachel Amey is nicely integrated into the production, subtly assuming the role of Annis’s dead mother, reassuring her daughter when she’s feeling low.

Karen Tennent’s nifty set places us first in an enchanted forest, where a grand gateway yields to an altogether more prosaic and clinical space, where white curtains segregate the patients from outsiders – and from each other. The costume design (by Alison Brown) also helps to locate us both in time and place, and I like the way Annis’s clothes become drabber as the institution wears her down.

All in all, Castle Lennox is a delight, well-deserving of the standing ovation it receives tonight.

4 stars

Susan Singfield

How Not To Drown

29/03/23

Traverse Theatre, Edinburgh

The first thing that captures my attention as I enter the auditorium is Becky Minto’s extraordinary set: a raised island of wooden planks, stark, powerful, simultaneously ramshackle and magisterial. There’s no other set dressing here, just two high towers of lighting on either side of the island, leaving lighting designer Zoe Spurr and composer/sound designer Alexandra Faye Braithwaite to layer on the atmosphere. Onto the dramatically sloping set climb the performers, five actors led by Dritan Kastrati, whose real life story is the inspiration for what we are about to watch (and who co-wrote the script with Nicola McCartney). But it’s clear from the outset that this will be an ensemble piece, as each of the actors in turn – Ajjaz Awad, Esme Bayley, Daniel Cahill and Sam Reuben – step forward to announce that they too are Dritan.

The drama unfolds, as the cast move back and forth on that precarious island, each actor in turn slipping into the role of Dritan, and skipping nimbly out again to portray a whole selection of other characters. There is never a moment’s confusion as to who is who. Director/ choreographer Neil Bettles has the cast drilled to perfection, as – with a modicum of props – they evoke a series of diverse locations and situations… and then, in a jaw-dropping coup de théâtre, the island begins to move.

Dritan’s story is one of abandonment and survival. At the age of eleven, he’s despatched by his well-meaning father from the family home in Albania, as war threatens to engulf the country. What follows is Dritan’s arduous attempt to get to his older brother somewhere in England, a difficult and sometimes dangerous journey. A sequence that portrays a perilous sea crossing feels horribly immersive, capturing the panic and uncertainty of the situation.

 Once in the UK, Dritan is confronted by the punishing series of hurdles faced by all young asylum seekers – a thankless procession of foster families, social workers and interpreters, each trying to give this boy whatever he asks for, but failing to provide him with the one thing he really needs: a family. We watch as his hopes and expectations crumble into dust.

How Not to Drown isn’t easy viewing, yet I wholeheartedly recommend it. It’s a powerful and affecting examination of the failure of bureaucracy, demonstrating all too clearly the problems that occur when it comes to caring for a child, cast adrift from everything he knows. Dritan Kastrati is only one of millions of people who have survived this awful situation, but his play brilliantly illuminates the experience like a beacon shining in a storm.

4.4 stars

Philip Caveney

Heathers: The Musical

28/03/23

Cameo Cinema, Edinburgh

In 1988, I was seventeen – and so was Veronica Sawyer. “You’re right; it really blows.” Luckily for me, high school in Abergele wasn’t quite as combative as it was in Sherwood, Ohio, and I never had to murder anyone. I did love Heathers though, and not just because Winona Ryder starred in it.

Written by Daniel Waters and directed by Michael Lehmann, the gloriously anarchic Heathers soon gained cult film status, so it’s no surprise that it morphed into a musical a decade or so later, nor that this stage version also has longevity. Here we are in 2023; unlike me, Veronica is still a teenager, still navigating the halls of Westerberg High, still trying to fit in.

The plot is sprawling and bonkers, the humour dark. Tired of being bullied, Veronica (Ailsa Davidson) comes up with a cunning plan: she will use her excellent forgery skills to bribe the three most popular girls at school into letting her hang around with them. In return for a fake hall pass or two, Heathers Duke, McNamara, and Chandler (Vivian Panka, Teleri Hughes and Maddison Firth) give Veronica a makeover and the status she craves. And sure, she feels bad about turning her back on her best pal, Martha (Mhairi Angus), but it’s a matter of survival, right?

Except not everyone survives. Heather Chandler’s cruelty becomes too much for Veronica, and she longs to escape the stifling ‘friendship’. Enter bad boy JD (Simon Gordon). He takes an interest in Veronica’s problems – and offers some pretty drastic solutions. For a while, Veronica is drawn to his sexy brand of nihilism, but soon realises he is dangerous. Can she extricate herself before even more damage is done?

It’s no easy feat to make a rambunctious, feelgood musical about murder, attempted rape, homophobia, suicide and school shootings, but writers Kevin Murphy and Laurence O’Keefe seem to have done just that. Despite its age, the show clearly still resonates: tonight’s screening is full, and the audience is mostly young women – who probably only know Winona from her role in Stranger Things. It’s an unabashedly schlocky piece of theatre, as camp as Christmas and – despite the body count – just bursting with life. I like the slight softening of JD’s character (he’s less sympathetic in the film, without as much backstory), and the constant presence of Heather Chandler’s kimono-clad ghost works well: she’s the most dynamic character in the play, and it would be a shame to lose her in the first act.

Directed by Andy Fickman, the chorus numbers are vibrant and the choreography suitably zippy, maximising the potential of The Other Palace Theatre’s small stage. Davidson shines in the lead role, her vocals impressive and her characterisation spot on. With its bright colour palette and bold delivery, Heathers provides the same kind of high-octane girl-power as Six.

“I know who I’m eating lunch with on Monday. Do you?”

4.3 stars

Susan Singfield

Dulse by Dean Banks

19/03/23

Queensferry Street, Edinburgh

We rarely return to a restaurant so soon after reviewing it for the first time, but when we saw that Dulse was offering a five course seafood tasting menu for just £35 per head, it was a no brainer. Besides, we wondered, could anybody do the concept proud at such a great value price? Well, the answer to that question is a resounding ‘yes!’ Little wonder that the venue has started offering the menu on more nights of the week.

We start with some oysters – is there any better way to begin a seafood medley? There are just two apiece: fine, fleshy specimens, one doused in a citrusy sea buckthorn sauce, the other in a Bloody Mary mixture. Heads back, mouths open – they slip down perfectly, refreshing, appetising and redolent of the ocean. It’s an excellent start to the meal.

Next up there’s trout pastrami, finely-sliced slivers of smoky fish, served with whipped crème fraîche and crispy rye toast that supplies a satisfying crunch. Arranged on the plate it looks disconcertingly like a smiling clown, but that’s as far as the comedy goes, because this is seriously good, perfectly prepared and absolutely mouthwatering.

The next course is a bowl of Singapore mussels. For me it’s the standout, a rich fiery broth with that tantalising catch at the back of the throat – but then I’ve always been a pushover for those Asian flavours. This is when I’m glad we’ve opted for a side order of a miniature wholemeal loaf, which is absolutely perfect for mopping up the garlic and ginger-infused liquid at the bottom of the bowl, because you don’t want to miss any of that flavour, right?

Can it get any better? Well, how about a chunk of cod, meltingly soft underneath and perfectly seared on top to provide a crispy crunch, the whole thing nestled in a vivid green wild garlic sauce? Yep, once again, this is absolutely spot on.

Any pudding that can follow this needs to be light and appetising, so a deconstructed Eton mess seems the perfect answer – and so it proves to be, with a delightfully fizzy sorbet. It provides the final piece in a faultless tasting menu.

It’s hats off, once again, to Dean Banks, who gets another five star review from us. We make a mental note to visit Haar, his restaurant in St Andrews, when an opportunity arises, because that’s where he began his career and it will be interesting to see what’s on offer there. Interested parties should note that, at Dulse, there’s also the option of adding a half lobster to the selection for just £25 per head and that last orders for this menu are at 7 pm.

So don’t hang about.

5 stars

Philip Caveney