Pomona, Royal Exchange, 11th November 2015

Fresh from a run at the National Theatre, Pomona slides North to its rightful resting place at Manchester’s Royal Exchange. Described in a recent Guardian article as ‘the grassy Limbo’ between Salford and Manchester and popularly known as ‘the lost island of Manchester’, the abandoned isle a couple of miles shy of the city centre is an inspired location for this slippery dystopian thriller by Alistair McDowell.

Opening with an impassioned exposition of Raiders of the Lost Ark, followed seamlessly by an enigmatically unhinged pitch on the virtues of daily consumption of bulk bought chicken nuggets, the cold, steel framework of the Royal Exchange only adds to the feeling that the next hundred minutes are going to be, at the very least, jarring. The inaugural monologue is sassily popped out by Zeppo, exuding slick charisma whilst munching mcnuggets and clad in grubby underwear and a parka, the fact that McDonalds survives for his enjoyment whilst civilisation self-destructs is bleakly tongue-in-cheek. Seeking her lost sister in the squalid wasteland is Ollie, Zeppo’s listener, and between them, an unacknowledged, dice rolling tentacled figure. Zeppo points Ollie towards Pomona with a disclaimer that it’s unlikely to end well, and the story begins.

The mark is set for a portrait of humanity at its brink, of squalor, disease and finding surreal humour in the darkest of places. Pomona unfortunately just doesn’t quite hit it. The disjointed components of the fragmented plot fail to catch enough interest to warrant elucidation whilst intermittent injections of puerile humour feel like cheap shots at forcing a laugh. Strong performances confirm a coherent thread of humanity amid apocalyptic chaos, but it is these alone which prevent the show from dissolving into incoherent ramble.

Whilst it’s clear that you’re not supposed to ‘get it’, and there are far more questions than answers (‘did Ollie even have a sister?’, ‘who/what is Keaton?’ ‘does Zeppo get involved more than he claims?’), these are unfortunately not questions that cross your mind once you’ve got a pint in your hand five minutes later. There’s an argument that the all-encompassing ambiguity unsettlingly masks deeper more disturbing truths, but it’s unfortunately not a protest that feels important enough to spare a thought for once the lights have gone up. First-rate performances and a strikingly fitting venue prop up an ambitious production that entertains in part but fails to wow. 2/5

Review: So Here We Are, Royal Exchange Studio, Royal Exchange & High Tide, 6th October 2015

Four men, black suits, black ties, the mood bleak, the sense of loss evident, a tense silence hanging on the air, broken only when one of them pipes up “well that’s f**ked up the five a side”. From the first line, you know that bog standard isn’t going to be dish of the day. A co-production with High-Tide Festival, So Here We Are tracks the events leading up to a young man’s death and the ripple of its aftermath. Ripple being the key word, no flapping of arms, no histrionics, barely an undry eye, just a liberal dose of crude, laugh out loud lad banter masking emptiness, devastation and preventing anyone from asking what the hell happened to Frankie.

It’s a winning start, but it fails to grab the medals. The sharp dialogue and mystery of the opening scene, a chunky, 30ish minute four hander focussing less on what is said (how fit was the grieving mother/grandmother?) than what no-one wants to say,  is concurrently riotous and intensely moving (although arguably becoming slightly too ‘Inbetweeners’ at some points). The ensuing scenes fail to live up to the blast of this starting gun, descending into a perfectly executed but ultimately clunky, formulaic catalogue of exposition that is saved by a crushing twist and a heartbreaking final scene. 3/5

Review: Golem, 1927, HOME Manchester, 7th October 2015

If you’re one of those people who's ever wondered what would happen if you mixed The League of Gentleman, The Mighty Boosh, Black Mirror and Dr Caligari into a nutty, trippy soup, this is one for you. Hot on the heels of their previous show, which played to sell-out audiences at the National Theatre last summer, 1927 march into HOME with Golem, a simultaneously hilarious and unsettling feat of visual gluttony which will satisfy even the portliest of eyes. A timely revival of the German silent film trilogy, Golem is the story of a clay automaton who gains sentience with devastating results.  
A co-production with Salzburg festival and Theatre de la Ville Paris, Golem’s European inspirations ooze throughout, 1920s German expressionism fuses effortlessly with twists of film noir and Chaplin-style slapstick to articulate a strong polemic on the looming stride of complacency in the ever technological age. In fact the key twist on the tale is Golem’s ubiquity, with the newest upgrade being the must have item, you can’t help but sense the strong whiff of iphones. 1927 are sublime, exuding intelligence, attention to detail and timing so spot on it’s got to be bordering on indecent. 
Their set, all projections, is a show in itself; when combined with the impeccable comic timing of the five sets of feet on stage, Golem is second to none. 5/5

Review: The Bogus Woman, Z-arts, Curtis Productions and Theatre by the Lake - 11th September 2015

Looking at the current climate (today the Guardian ran an article called 'A Day on a Refugee Ship' whilst the DM ran a uncharacteristically sympathetic (*cough*) story on the plight of disabled refugees), The Bogus Woman, an uncompromisingly frank documentation of an African refugee’s bleak, inevitably hopeless grasp for safety on UK shores, couldn’t be more bang on time or smack closer to home. Krissi Bohn executes this revival of Kay Adshead’s hard-hitting, gut-punching play with an inexorable energy that far eclipses your average bee-hive and leaves you with a far worse sting. An inspiring one-hander that never once strays into the tempting yet tediously fatal pit of self-indulgence; Bohn, under the flawless eye of director Zoe Waterman, springs seamlessly between 30 plus characters, oozing cocky revulsion as a bigoted official one second and bumbling as an affable ex-Eton type solicitor the next. A gutsy and unflinching confrontation that teases out glimmers of hope before wrenching them from under your feet; The Bogus Woman is a must-see show for anyone who has ever taken for granted the four walls around them, the wallet in their pocket or settling in for the night, securely locking their front door and getting a good night's sleep. 4/5

Review: Dead Dog in a Suitcase, HOME Manchester, 16th September 2015

With two and a bit hours of gloriously aggressive assaults to the senses; Kneehigh don’t fail to disappoint as they smash into HOME with their retelling of John Gay’s ‘The Beggars Opera’. True to form, it’s Kneehigh’s good old singing and dancing with a solid sprinkle of bawdiness, a few puppets, cross-dressing, colourful language and a couple of willies thrown in for good measure. The performers spurt pure vocal and musical gold, with standout prowling from the hilariously deranged Mrs Peachum whose bafflingly energetic performance brings to mind Cher, Mrs Lovett and my Auntie after a bottle of Pernod. However, this opera ain’t forgetting it’s Brechtian roots; the play crashes to a graphic, unsettling halt which sits uncomfortably with the toe tapping sordid sexiness of its preceding acts, a conclusion which menacingly disperses the lingering darkness that's been trapped in the floating noose the whole time.

Would I go see it again? Absolutely, do you want to go? Yes? Let’s mash it.

Spoiler alert. It doesn’t end well for the dog. 

4/5

Review: Yen, Royal Exchange, Wednesday 18th February 2015

Normally when you walk out at an interval it’s a fairly clear indicator that Breaking Bad and eating Nutella in your jammies is a far superior alternative than another hour of a seat in a dark room.

Not in this case.

Happily musing my love of ‘open endings’ on my skip exitward I discovered that there was a whole bonus second half of the Bruntwood Prize winning Yen to come. And, in all honesty, sod what people have said about my ignorant near walk-out being a heinous indictment on the play as a whole, the fact that the first half had me deep in thought and saturated with theatrical glee (something many a 'full' play fails to bag) is testament to just how bloody good this production is.

tells the story of two teenage brothers left to fend for themselves and their dog in a squalid flat in Feltham, Performances that could easily be grating and overbaked (alcoholic absent mother, animal loving teenage girl and malnourished trakkie bottom-wearing sweary youths) are played out with brutal honesty, no stain hidden. Sharp dialogue and gritty delivery tosses you from hilarity to despair with each passing second and an empty stage populated by a grotty sofa-bed is filled with the turbulence of first love; the monotony of a seven hour Playstation marathon and a tragic childhood where nicked charity shop clothes and chicken nuggets for tea are considered luxuries. 

All this before a horrific twist in the second half. (Make sure you don’t leave).

It was busy on the first night, and it's Manchester so word will get out. This is a seat in a dark room you'll want to get your bum on. 4/5

Review: Mr Burns, Almeida Theatre, 21st July 2014

You know what, I'm going to put it out there, call me a maverick if you will, call me crazy, go ahead. I like the Simpsons. Yep, there you go. That's it, the confession of the year. Start throwing your stones, I just don't go in for the mainstream, what can I say? Innit. Everyone loves The Simpsons don't they, find me someone who doesn't. So in the lead up to this show I predictably found myself texting carefully selected quotes to my pals (“hello, my name is Mr Burns, I believe you have a letter for me”, “Alright Mr Burns what’s your first name?”, “….I don’t know”), to which I would almost always receive a lightning flash response ("They're fighting like Iran and Iraq!", "What?", "...Persia and Mesopotamia") I should also mention that I never called this show ‘Mr Burns’, always ‘Mr Boo-urns’ (“I was saying Boo-urns”).  

So, with all that in mind, Anne Washburn's depiction of a post-apocalyptic world where The Simpsons becomes shared conversational fodder around a campfire doesn't seem like the most far-fetched situation. Indeed the beauty of Washburn’s script is its recognition of this near ubiquitous knowledge of Springfield and its hilarious inhabitants, and the manner in which it becomes inevitably misquoted and corrupted over time. Washburn’s script is such a little flirt; it keeps you gagging for those classic moments, forever yanking them away at the last minute. The action tiptoes on the precipice of hilarity with a seething underbelly of unease and uncertainty and the tension comes from what isn’t revealed as quotes become intellectual property to be violently bartered. Mr Burns shrugs off traditional structure, opting for three acts and two intervals; a unsettling but welcome change which shakes up the typical experience; whilst also allowing you valuable extra time to discuss what the hell just happened. However, the palpable tension and mystery of the first two acts is spoiled by the third; which lays it on just a bit too thick. Whilst being suitably disorientating and removed, depicting a post-apocalyptic future shrouded in corrupt oral tradition (mash-up Britney, Eminem, The Simpsons and elaborate ritual ceremony and you’re about half way there), it’s all just a bit much. Whilst an elucidating, explanatory third act would be inappropriate, this tribal, post-apocalyptic Simpsons-centric civilisation veers a little too much towards cliché. Chilling, innovative but clumsily concluded, it’s definitely worth catching; but after veering towards a 4 I'm it’s going to have to be a 3. [3/5]

Review: A View from the Bridge, Young Vic, 9th April 2014

Ivo Van Hove slams Arthur Miller’s play to the Young Vic stage, a simmering, foreboding take on ‘the American Dream’ which continues to hit home and spurt relevance sixty years after it was written and a few thousand miles away from the city in questions. Recently commenting on this production in the Guardian, Van Hove claimed, “my aim is the ultimate production”, whilst the performances are toe-curlingly brilliant, erupting a bubbling pit of jealousy, hardship, cabin fever and frustration, Van Hove’s excellent production is crushingly relegated to at least the ‘penultimate’ by sadly ill-fitting choices of design and soundtrack.

In light of the passing of the gay marriage bill in the last month, Eddie’s allusions to Rodolfo’s homosexuality and being “not right”, are particularly relevant, evoking more than a few self-conscious titters around the audience, Van Hove adapts these lines beautifully, acknowledging Eddie’s ignorance whilst also implying that his prejudicial views are far from unusual. Van Hove’s direction is flawless (bar a prolonged ‘awkward conversation’ scene that should have stayed in the rehearsal room), and Mark Strong broods onstage as an utterly terrifying Eddie. One half-expected him to leap-frog the stage and unleash a murderous brawl in the front row. A caged animal imprisoned by his own obsession, simmering violence and inner-turmoil; there’s no need to wait until the first punch is thrown an hour or so in, the violence seeps out of Eddie the second the lights come up.

As mentioned initially, objections are from a technical perspective. Whilst the sparse, clean-cut lines are indicative of a community unaccustomed to luxury, scraping by what they can. Miller’s play centres on a cramped, deprived microcosm in flux, where a sheltered ward, to the bubbling, fermenting near-incestuous dismay of her guardian is exposed to the bright lights of the city and the lurid vividness of first love. As said above, the acting, spot on. Whilst simplicity can indeed ensure that style doesn’t deviate from grittier substance, Jan Versweyveld’s clean black and white lines divorce the story from its heady, atmospheric context, depriving the audience of a gritty insight into the collision of grime, sweat and hardship with hope, big-city and bright lights.

Similarly, whilst a drumming motif works throughout to an extent, and a choral soundtrack adds a certain ambience evoking the clash of Italian Catholicism with modern America, it’s all just a bit much. The constant drumming feels too much like a rehearsal technique that’s slipped into the end product whilst the amped up music in the famous ‘chair’ scene, elicited a wave of hearty laughter rather than the loom of foreboding violence which Van Hove presumably intended.

Don’t get me wrong, this was pretty good. However, can the drums and pipe down the music a little and Van Hove could have had the “ultimate production” for which he strived. 3/5

Edinburgh 2013 Musicals Review: King Kong the Musical! (Pinecone Penguin Productions)

I’ll be honest: when I heard I was going to ‘King Kong the Musical!’ I didn’t know whether to laugh or vomit. Thankfully the main component is an awful meta-musical; after half the cast quit a group of actors are forced to perform their musical to a Broadway producer. Though it gets some big laughs, the performances aren’t strong enough to take it from funny to side-splittingly hilarious. Vocals are overwhelmed by the music, and an ending which is intended to move you only makes you awkwardly wish they’d shut up and do more funny stuff. A few diaphragm warm-ups and scrapping the earnest bits would make this a much better show. It’s not big, it’s not clever, but it’s all right for a silly chuckle.

The Space @ Niddry Street, until 10 Aug, 3.50pm.
tw rating 3/5 | 

- See more at: http://www.threeweeks.co.uk/article/ed2013-musicals-review-king-kong-the-musical-pinecone-penguin-productions/#sthash.hnCB1xXB.dpuf

Edinburgh 2013 Theatre Review: Running With The Firm (James Bannon)

Zoo have a cracking programme this year, and whoever booked ‘Running with the Firm’ deserves a pint. James Bannon’s a bloke you’d pass in the street without a thought, but once he starts talking, wow. If I could’ve grown an extra ear to take it in more, God I’d have done it. It’s about his work as an undercover policeman, specifically an investigation in the late 80s aiming to convict Millwall football hooligans. Bannon takes you through highs, lows, moral minefields and crippling fears creating a show that’s thrilling, hilarious and harrowing. When it finished, I wanted to jump on stage and beg him to keep talking. I’d cull the book plugging (unnecessary) and a few awkward iffy bits; but this has got to get every star I can chuck at it.

Zoo Southside, until 26 Aug, 8.35pm.
tw rating 5/5 | 

- See more at: http://www.threeweeks.co.uk/article/ed2013-theatre-review-running-with-the-firm-james-bannon/#sthash.WW6RAMeZ.dpuf

Edinburgh 2013 Theatre Review: These Halcyon Days (Landmark Productions)

Heart-warming and tear jerking in equal measure, ‘These Halcyon Days’ is the bitter-sweet tale of Sean, a wheelchair-bound man rotting with inertia in a retirement home, and Patricia, a stubborn, feisty new arrival with no intention of sticking about and grabbing a Zimmer frame. As friendship blossoms, their personalities shine; Sean’s impassioned Henry V soliloquy is one of the most heart-breaking things you’ll see this year whilst Patricia’s sunbathing antics in the back-garden are a true reminder of what it is to be young at heart. A brutally honest account of loneliness and the unavoidable ravages of ageing, and a moving reminder that “old men forget, yet all shall be forgot”.

Assembly Hall, until 25 Aug (not 7, 12, 18, 19) 11.00am.
tw rating 4/5 |

- See more at: http://www.threeweeks.co.uk/article/ed2013-theatre-review-these-halcyon-days-landmark-productions/#sthash.4T12yzHW.dpuf

Edinburgh 2013 Theatre Review: Hanging Bruce-Howard (Gone Rogue Productions)

Living room farce with an alcoholic actor protagonist; cue neurotic gay playwrights, incompetent Polish plumbers, fist fights and hidden bodies. Jolly good fun for some maybe, but you can’t shift the sense that it’s a bit old hat for a young company, and perforated with cliché and stereotype that demonstrates a mind-boggling lack of self-awareness. It’s hampered by weak writing and a lead actor, who though trying his damnedest, just isn’t watchable enough to pull off the character of endearingly self-absorbed dandy, though admittedly being the first performance this could improve. Chuck in a couple of AIDS jokes and the end result is resoundingly off. Tired, unoriginal and poorly executed, it may sharpen slightly during the rest of their run, but only a miraculous rewrite could truly save this.

C nova, until 26 Aug, 12.05pm.
tw rating 2/5 |

- See more at: http://www.threeweeks.co.uk/article/ed2013-theatre-review-hanging-bruce-howard-gone-rogue-productions/#sthash.vsZTVvU7.dpuf

Edinburgh 2013 Review: HeLa, Summerhall (Adura Onashile and Oxide)

Although technically you might  have to classify it as such, to bill ‘HeLa’ as “half lecture, half theatre” seems an injustice to this poignant, thought-provoking, enlightening venture from Adura Onashile and Oxide. ‘HeLa’ is an exploration into the depths of cancer cell research from the early 1950s, focusing on cell samples taken from 31 year old Henrietta Lacks in 1951; cells which continue to change and influence scientific research to this day. The performance uncovers the woman behind the cells and serves as a gut-wrenching reminder of hideous days of racial segregation, “whites only water fountains” and “’black’ waiting rooms”. The piece raises important ethical issues surrounding medical research and uncovers atrocities that have historically been swept under the carpet. An informative and relevant piece, if a law was passed to make this essential viewing, I'd be having strong words with anyone who made a fuss. 5/5

Edinburgh 2013 Children’s Show Review: A Boy Who Cried Wolf (Gem & Ren / PBH’s Free Fringe)

‘A Boy Who Cried Wolf’ is a step-by-step guide of how not to do a kid’s show. Performers ‘Gem & Ren’ harangue their audience with an hour of patronising cooing and condescending pep talks about being a “great team”. The essentially strong concept of taking audience suggestion to improvise new stories is doomed by their fundamental misunderstanding of how to talk to children or adults. A sequence improvising songs with ‘zany’ lyrics is thrashed to death after 1,000 repeats of the same song. Audience rapport is marginally livelier than a wake; the performers largely suggest their own improvisations, and excruciating high-fives are dished out to adults who pipe up to put them out their misery. I considered walking out and throwing myself down the stairs. Painful.

The Dram House Upstairs, until 24 Aug (not 7, 14, 21), 11.45am.
tw rating 1/5 |

- See more at: http://www.threeweeks.co.uk/article/ed2013-childrens-show-review-a-boy-who-cried-wolf-gem-ren-pbhs-free-fringe/#sthash.M539dyPk.dpuf

Edinburgh 2013 Theatre Review: Genesis / Golgotha (Clancy Productions and Assembly)

Eve (yep, that Eve) and Jesus come to Edinburgh to treat us to a verbose, tedious rant. ‘Genesis/Golgotha’ is composed of two monologues; Jesus is a rambling, deranged, down-and-out who pelts out a non-linear, irate stream of conscious which leaves you feeling less compelled and more like you wish you’d chosen a different seat on the bus. Eve’s rant is more neurotic and self-pitying, but not much better. It’s clear both actors inject everything into their performances, though the subject matter isn’t as original or thought-provoking as it thinks it is; after an hour of Eve’s wailing and Jesus’ scatty movement and boob references, all you’ll want to do is run out into George Square, down a pint, and probably demand your money back.

Assembly George Square, until 26 Aug (not 12), 12.30pm.
tw rating 1/5 | 

- See more at: http://www.threeweeks.co.uk/article/ed2013-theatre-review-genesis-golgotha-clancy-productions-and-assembly/#sthash.qtYqiw1O.dpuf

Edinburgh 2013 Theatre Review: Funeral Replacement Service (Ghost Bus Tours)

You’re invited to celebrate the life of Roger Cocksweets (pronounced “Co-sweets”), and the funeral will be taking place on his old Routemaster bus (pay your respects to the coffin as you board). Theatre on wheels is a great concept, and this unconventional commemoration treats you to video messages from irate relatives, graphic poetry, and a grandson who goes around chatting everyone up. The real problem is that, at 45ish minutes, it’s too short- you’re just getting warmed up when you’re turfed out. There’s also no bar, and I imagine booze would put people more in the mood for belting out dubious hymns. An enjoyable, yet unexpectedly sedate experience: bring some mates and have a few pints first to get the best out of it.

Necrobus, until 26 Aug, 11.00pm and 12.30am.
tw rating 3/5 |

- See more at: http://www.threeweeks.co.uk/article/ed2013-theatre-review-funeral-replacement-service-ghost-bus-tours/#sthash.jBhuz0Un.dpuf

Edinburgh 2013 Theatre Review: How To Occupy An Oil Rig (ARC Stockton)

The minute I walked in and got handed a lump of plasticine, my inner five year old did a fist-pump. ‘How To Occupy An Oil Rig’ is a step by step guide to the practical elements of protesting, from joining a protest march to safely chaining yourself to a radiator. With jumbo Lego bricks, plasticine people and lurid wigs, everything appears childlike and whimsical, but beneath this façade is a compelling and very grown-up appeal to action. Provocative, playful and engaging, this earnest performance makes you believe that you can and should be changing the world. If you decide against occupying an oil rig today, do the next best thing and track down an ‘ARC Stockton’ show, I guarantee your world will be changed.

Northern Stage at St Stephen’s, until 24 Aug (not 12, 19), 12.35pm.
tw rating 5/5 |

- See more at: http://www.threeweeks.co.uk/article/ed2013-theatre-review-how-to-occupy-an-oil-rig-arc-stockton/#sthash.tU69A1kQ.dpuf

Edinburgh 2013 Theatre Review: That Is All You Need to Know (Idle Motion)

Crossword solving speed seems odd screening for someone entrusted with saving thousands of lives; ‘Idle Motion’ fuse verbatim testimony and sensitive imaginings to present this and other thoughtful, enlightening insights into the Bletchley Park code-breakers. The show uses recordings of long-silenced memories, poignantly placing the ageing voices alongside their younger counterparts onstage. My sole criticism would be that the characters feel slightly distant; though this is to an extent inevitable, many of the workers honoured their code of silence to the grave, an emotional ending is muted as a result. That said, ‘Idle Motion’ are a ridiculously talented company who have that rare talent of being able to hurl their collective excitement, intelligence and innovation upwards and make brilliance land at their feet. Great stuff.

Zoo Southside, until 24 Aug (not 11, 18), 5.05pm.
tw rating 4/5 |

- See more at: http://www.threeweeks.co.uk/article/ed2013-theatre-review-that-is-all-you-need-to-know-idle-motion/#sthash.DlmMp14n.dpuf

Edinburgh 2013 Theatre Review: No Holds Bard (Royale Productions)

“What did you see, a one-man Hamlet?” says Gran each year when I return from the Fringe. Michael Hurst trumps Nan’s wildest imaginings with a one-man Hamlet featuring Othello, King Lear and Macbeth. An actor holds a gun to his head, then we’re whisked on a disorientating excursion into the recesses of his disturbed mind, occupied by the characters mentioned above. Bullying, abuse and torment ensues, comic relief is provided by a boorish, Glaswegian Macbeth who casually fries up breakfast whilst chatting to the neurotic Hamlet. An Olivier-style foaming-mouthed, dubiously accented Othello raises more than a few awkward titters. It’s dodgy ground that I’m not sure works, thankfully his appearances are brief. Tweak the borderline offensive Othello and this sweaty, schizophrenic, Shakespearian mash-up could become a classic.

Assembly Roxy, until 26 Aug (not 12,19), 12.20pm.
tw rating 3/5 | [Holly Sharp]

- See more at: http://www.threeweeks.co.uk/article/ed2013-theatre-review-no-holds-bard-royale-productions/#sthash.wveQIYp9.dpuf

Edinburgh 2013 Theatre Review: Holes by Tom Basden (The Invisible Dot Ltd)

Maybe it’s just me who read “secret location” and “3 hours 45 minutes” expecting a magical mystery tour. ‘Holes’, whilst an incredibly well-written play containing some of the finest comic performances in Edinburgh, is just that, a play; and it’s in a room, not a spooky cave. In this piece following four plane crash survivors, Basden’s command of words is sublime. Excruciatingly recognisable personalities are shaped with precision. However, the ending does feel rushed. The seating in the secret location too is not great, but, provided you can see the stage, the performance is the kind of stuff you’d like to bottle up and slather yourself with when you’re having a terrible day. The disappointingly unnecessary jaunt out of town kills it, if you’re hankering for adventure pop up Arthur’s Seat instead.

Secret location, until 25 Aug (not 19-22), 3.00pm and 6.30pm.

tw rating 3/5 | 

- See more at: http://www.threeweeks.co.uk/article/ed2013-theatre-review-holes-by-tom-basden-the-invisible-dot-ltd/#sthash.FZEcL1gr.dpuf