Eilidh Loan

Cathy

09/08/26

Traverse Theatre, Edinburgh

Cathy has all the hallmarks of a sitcom: distinctive characters, familiar settings and a serious of humorous conflicts. Like the best of the genre, it also carries some real emotional weight.

The eponymous Cathy (Elaine C Smith) is based on writer-director Eilidh Loan’s own grandmother. She’s a spiky, complicated woman, struggling to deal with the death of her beloved husband, Tommy. She’s angry in her grief, lashing out at everyone she cares for: her daughter, Florence (Michele Gallagher), son-in-law, Colin (Alan Orr), and pregnant granddaughter, Amy (Chloe Hodgson).

She’s furious with God too. She’s been a good Catholic all her life, done everything He’s asked. So where is He when she needs Him? Cathy is adrift, unable to imagine a future without Tommy. But when she takes his clothes to the local charity shop, she meets an unlikely angel of deliverance in the form of Lizzie (Sally Reid), who manages the store. Boho, woo-woo and musically ignorant, Lizzie isn’t the sort of person Cathy normally warms to. But there’s something disarming about the cheerful, crystal-wearing volunteer – and Lizzie has her own experience of devastating loss.

I don’t usually like a stage full of props, but Kenny Miller’s set design perfectly complements the play’s themes: the stuff that accumulates over a long life; the items we cling to and those we have to learn to let go. The transitions are complicated but extremely well-managed, so that we move with ease between realistic sets, from funeral home to Cathy’s dining room to Lizzie’s busy, bustling shop.

Unsurprisingly, this is very much Cathy’s play, and Smith’s performance is flawless, allowing us to see the central character’s hidden warmth and vulnerability, as well as delivering every gag with deadly precision. The supporting cast are very good too, Reid in particular lighting up the stage.

Cathy makes me laugh and cry. Part Christmas play, part family drama, it feels like the start of something bigger, with characters that could easily be drawn out over a series.

If you want all the feels, this is the show for you.

4 stars

Susan Singfield

Mary Shelley’s Frankenstein

 

21/10/19

King’s Theatre, Edinburgh

Frankenstein is an integral part of our cultural landscape, its imagery known to all, even those who’ve never read the book or seen a movie version of the tale. I love it, but it’s been adapted and interpreted so many times that I’m almost reluctant to see it again. What else is there to say? Playwright Rona Munro had the same misgivings: ‘What version of Frankenstein hadn’t I seen already?’

Her conclusion – a version that places a punky teenage Shelley (Eilidh Loan) on stage with her creations – is inspired, extending the duality so central to the novel. For who is Mary if not Victor Frankenstein (Ben Castle-Gibb)? Is she not the creature’s maker, alongside the young scientist? All the hubris Frankenstein displays (the frenetic, obsession with his work; the rejection of accepted norms; the willingness to unleash horror to realise his dreams) is Mary’s conceit too. And if the monster (Michael Moreland) represents the darkness in the doctor’s soul, he surely also embodies the destructive nature of the writer who conceived them both.

In a weird way, the horror is both negated and amplified by Shelley’s presence: we always know it’s a fiction, each death or salvation dependent on a scribble from a pencil pulled impatiently from the writer’s hair – and yet, as we’re reminded, this monster really lives; he is immortal, long outlasting both of his creators.

Becky Minto’s design is gorgeously stylised, all stark and glacial, with bare white roots and branches used to hint at wires, hearts and veins. The monotone costumes add to the abstraction; there’s a suggestion of the period, but no attempt at naturalistic portrayal. Patricia Benecke’s direction makes clear that this is an exploration of the novel’s heart, not a faithful retelling of the story as it stands.

Occasionally it feels a little rushed; the scene where the creature meets the old man (Greg Powrie) suffers particularly in this respect. And Natalie McCleary (who plays Elizabeth) feels a little under-used: she has a strong stage presence and her character could easily be given more to do. The only other issue for me is the excessive use of dry ice. It’s one thing to create a misty, creepy atmosphere, but come on… It’s October; half of the audience are struggling with colds. It doesn’t seem sensible to tickle our throats to this extent.

Despite these minor niggles, I’m really impressed by this play. Munro’s quirky adaptation exposes and illuminates ideas I hadn’t thought of in a story I thought I knew too well.

4.3 stars

Susan Singfield