Performing Arts Reviews
18 Jan – 1 Feb Review
Celtic Connections 2020 Highlights
27 Jan Review
One of England’s most idiosyncratic songwriters brings his surreal, angular takes on life to Glasgow.
15 – 18 Jan Review
A visually spectacular retelling of this well-known fairytale.
Scottish Chamber Orchestra: James MacMillan’s Symphony No.5: ‘Le grand Inconnu’ [Edinburgh International Festival]
17 Aug Review
The leading Scottish composer of his generation celebrates turning 60 with five performances at the heart of the Edinburgh International Festival. This culminates with the world premiere of his Symphony No.5: ‘Le grand Inconnu’ and shows off MacMillan’s talent to compose for both voice and orchestra.
Until 11 Aug Review
Edinburgh International Festival welcomes Sydney Theatre Company for the first time, prior to touring the UK with the respected Australian novel The Secret River (2005). Kate Grenville’s book is adapted for the stage by Andrew Bovell and directed by Neil Armfield.
3 – 5 Aug Review
ArtMag attended the first night of Scottish Ballet’s production of Arthur Miller’s chilling The Crucible, opening Edinburgh International Festival’s 50th birthday year.
Until Nov 10 Review
There is a palpable feeling of wistful contemplation, apparent through this specific collection, which is brought about by the chosen topic, but above all, it is made possible due to the artist’s understanding and implementation of her craft.
Until Nov 10 Review
There exists a slight, yet enjoyable cryptic quality to McLean’s pieces, which can relate to a sense of existential eternal wisdom as the backdrop for a raw, profoundly saturated abandon in the present instance.
Until Oct 29 Review
As of 12th of October the Open Eye Gallery will present to the public yet another outstanding display of talent in the face of three fascinating artists.
Until November Review
This display explores the purity of certain dainty subjects, apparent in the pastel color schemes, the natural state of the surrounding environment, and the expressions of suave, yet innocent contemplation on the subject’s faces, which Cairns presents with extreme sensitivity.