In Full

Events in Full
All the Noras: Anna Russell-Martin, Molly Vevers and Maryam Hamidi in Nora: A Doll's House, the first production in the Citizens Women season presented at Tramway

Theatre reviews: Nora – A Doll’s House | The Taming of the Shrew | Scurvy Ridden Whale Men

ON TOM Piper’s brilliant set for Stef Smith’s thrilling new 21st century perspective on the story of Ibsen’s A Doll’s House, three doorframes stand between the domestic space and the outside world. For each door, there is a different version of Nora, the young wife and mother who, at the end of Ibsen’s play, famously walks through her front door and slams it, finishing the charade of the conventional marriage in which she was treated like a child and a plaything.

In Smith’s vision – staged by the Citizens’ Theatre at Tramway – the first Nora, electrifyingly played by Anna Russell-Martin, is from the #metoo year of 2018, the second (Maryam Hamidi) from 1968, at the height of the sexual revolution, and the third (Molly Vevers) from 1918; yet on this dizzyingly brilliant two-hour journey through the arc of Ibsen’s story, driven by a subtly powerful musical score from Michael John McCarthy, the narrative passes between them with a strange and chilling ease, like the baton in some endlessly-repeating relay race of timeless female experience.

Theatre
Maureen Beattie, Shyvonne Ahmmad, Moyo Akande and Nicholas Ralph are outstanding in Interference, a trilogy of new plays by Morna Pearson, Hannah Khalil, and Vlad Butucea,  directed by Cora Bissett. Picture: John Devlin

Theatre review: Interference

IN THIS second decade of the 21st century, the edges of our humanity are beginning to blur. Scientists call it the Uncanny Valley, the unsettling area where the human and the artificial become hard to distinguish; and the whole purpose of the National Theatre of Scotland’s new trilogy, commissioned and directed by Cora Bissett, and presented on two stages in a wide open office floor at City Park, is to lead us into that valley, and to invite us to explore some of its most troubling places.

Theatre
Nicki Minaj delivered a set directed at the adult market

Music review: Nicki Minaj, Hydro, Glasgow

“I BELIEVE that life is a prize,” hollered Nicki Minaj on Moment 4 Life, one of the closing tracks of a lengthy set, “I get what I desire / it’s my empire.” That was just one moment among many in which she projected an image of hyper-confident female assurance; as an artist, a businesswoman and very overtly a sexual being. As big an arena spectacle as any Taylor Swift or Rihanna extravaganza, the Trinidad and Tobago-born, New York-raised Minaj’s show breaks from the contemporary tradition of pop aimed at as wide an audience as possible to deliver a set which is pitched squarely at the adult market.

Music
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