White – Traverse Theatre

Creator: Andy Manley

Director: Gill Robertson

Profoundly simplistic, though magnanimous in spiritual creativity, White may label itself as a show for the youngest theatregoers, but its aesthetics, humour and sharp imagery are of a timeless piece. Pitching itself towards the younger crowd, but refraining from simplicity, cooing or pander. Its narrative follows Cotton and Wrinkle, two chaps who task themselves as egg-carers. As these precious parcels arrive, they are cleaned, given homes and sung to sleep. That is, of course, assuming the egg is white. With the arrival of a crimson egg, starkly contrasting the bleached backdrops, Wrinkle wants to toss it into the bin where all colour belongs, Cotton, on the other hand, has another idea.

With sophistication, Andy Manley projects the difficulties we overcome in acceptance, transforming White into a rather splendid piece of family theatre. Carrying this, Michael Dylan & Ian Cameron frolic amidst this medley of textures, levels and fabrics all stitched together into this immaculate world. Rich in humour, Dylan & Cameron expresses a range facially, the easiest way of communication with not only a younger audience but those without voices, hearing impairment and non-English speakers. It’s accessible, if a little reliant on words, where a deal of movement could communicate effectively.

Catherine Wheels have a purity to their theatrical creations, which are sublime to look at, you’ll often find yourself gazing at the smallest of details in the background, wondering what this gizmo could be leading towards. As one may imagine, the set is devoid of colour, in its absence, varying shades of white, from cotton to ivory. It’s gorgeous to see designer Shona Reppe sculpt such clean, pleasing theatre despite the age range of the audience.

Lifting the performance, Reppe’s design plays an even more staggering role as the production’s infection of colour pervades against this white canvas. A warmth is tangible, as these bursts of inclusivity, from the noxious yellows to the royalist purple, are met with great cheers from the children. It’s enchanting, with a wide number of tricks, transformations and effects concealing themselves away from curious children’s prying eyes.

As these eyes soak in a rainbow of colour, a subtle composition has been pleasing the ears for some time. It’s an understated score, courtesy of Danny Krass, which compliments the production, without attempting to steer attention away. Lifting where required, specifically for an explosive finale where the final message is clear, to take the colours you see, keep them close and let your life be bright, inclusive and include every shade imaginable.

This all concocts a magical production, which seeds the idea of acceptance, regardless of colour, from an early age. White manifests a spectrum of sentiments, in such a short space of time, that it’s a wonder to think about long after the little, and not so little ones, have left the theatre.

Review originally published for Reviews Hub: https://www.thereviewshub.com/white-traverse-theatre-edinburgh/

Photo Credit: HAM, courtesy ASK

Covid-19 – Theatre/Events responses & information

As of March 16th, the Scottish Government advises a policy to protect the capacity of our public services, advising that organisers should cancel or postpone all mass events of 500 people or more – indoors or outdoors.

Below is an ongoing list of Scottish Theatre & events venues which have provided their stance on the matter, with many revaluating constantly in accordance with government advice and the safety of the public and their staff paramount. This page will seek to guide, inform and update readers to which venues remain open, have cancelled events (which should be checked on their respective websites, or have gone dark (closed).

If you have purchased tickets for events or production in the coming weeks/months, we recommend you get in contact with the representatives of the theatres. Box office numbers and website listings for an email address and contact details are below. Please bear in mind the difficult time for these companies, with staff working their hardest to support audiences, talent and each other. The person at the other end of your enquiry is potentially about to have no job for the foreseeable future.

Edinburgh & Lothians:

Assembly RoxyBox Office: 0131 623 3030 – www.assemblyfestival.com
Current Status: Dark

Bedlam Theatre https://bedlamtheatre.co.uk
Current Status: Events cancelled

The BruntonBox Office: 0131 665 2240 – www.thebrunton.co.uk
Current Status: Dark

Church Hill Theatre www.assemblyroomsedinburgh.co.uk
Current Status: Shows postponed

The Festival Theatre & The King’s Theatre Box Office 0131 529 6000www.capitaltheatres.com
Current Status: Dark

The Playhouse – Box Office: 0844 871 3014 – www.atgtickets.com
Current Status: Dark

The Royal Lyceum Theatre – Box Office 0131 248 4848 – https://lyceum.org.uk
Current Status: Dark

Scottish Storytelling Centre – 0131 556 9579 https://www.scottishstorytellingcentre.com/
Current Status: Show Cancellation

Summerhall – Box Office 0131 560 1581 – https://www.summerhall.co.uk/
Current Status: Dark

The Traverse Theatre – Box office: 0131 228 1404www.traverse.co.uk
Current Status: Dark


Glasgow Tramway – Box Office 0845 330 3501 – https://www.tramway.org/Pages/home.aspx
Current Status: Dark

King’s Theatre Royal – Contact Info 0844 871 7648 – https://www.atgtickets.com/venues/kings-theatre-glasgow/info/
Current Status: Dark

Òran Mór – Contact Into 0141 357 6200 – https://oran-mor.co.uk/
Current Status: Dark

The Pavilion Theatre – Box Office 0141 332 1846 – https://www.paviliontheatre.co.uk/
Current Status: Dark

The Royal Conservatoire Scotland – Box Office +44 (0) 141 332 5057 – https://www.rcs.ac.uk/coronavirus-faqs/
Current Status: Suspending productions until further notice

The Tron Theatre – Box Office 0141 552 4267 – https://www.tron.co.uk/
Current Status: Dark


Aberdeen Performing Arts: Encompassing The Lemon Tree, His Majesty’s Theatre and The Music Hall – 01224 641122 – https://www.aberdeenperformingarts.com/coronavirus/
Current Status: Dark

The Trivoli Theatre – Contact Number 01224 592755 – https://thetivolitheatre.com/
Current Status: Dark

Dundee and Perthshire:

Dundee Rep – Box Office 01382 223530 – https://www.dundeerep.co.uk/
Current Status: Dark

The Space – https://www.dundee.com/activity/space
Current Status: Dark

Perth Theatre & Concert Hall – Box Office 01738 621031 – https://www.horsecross.co.uk/
Current Status: Dark


The Adam Smith Theatre – Box Office 01592 583302 – https://www.onfife.com/venues/adam-smith-theatre
Current Status: Show Cancellations

The Alhambra Theatre – Box Office 01383 740 384 – https://alhambradunfermline.com/
Current Status: Show Cancellations

The Byre Theatre – Box Office 01334 475000 – https://byretheatre.com/
Current Status: Dark, starting March 15th until May 31st

Rothes Hall – Box Office 01592 611101https://www.onfife.com/venues/rothes-halls
Current Status: Show Cancellations


The Macroberts Art Centre –  01786 466666https://macrobertartscentre.org/
Current Status: Dark


The Gaiety Theatre – Box Office 01292 288235 – https://thegaiety.co.uk/
Current Status: Dark


The Beacon Arts Centre – 01475 723 723https://www.beaconartscentre.co.uk/
Current Status: Dark


Eden Court – Box Office 01463 234 234 – https://eden-court.co.uk/news/statement-on-covid-19-coronavirus
Current Status: Dark

Pitlochry Festival Theatre – Box Office +44 (0)1796 484 626 – https://pitlochryfestivaltheatre.com/
Current Status: Dark


The Theatre Royal – Box Office 01387 254209 – https://www.theatreroyaldumfries.co.uk/
Current Status: Dark

Honourable Mention:

The Royal & Derngate (Theatre & Cinema) – Box Office: 01604 624811 – https://www.royalandderngate.co.uk/
Curent Status: Dark

This page shall update if & when information is received, in the meanwhile stay safe, smart and support your local arts. They’re going to need it in the coming months.

Hotter – Traverse Theatre, Edinburgh

Written & Performed by Mary Higgins & Ell Potter

Directed by Jessica Edwards

Real talk here; what gets you off? Do you prefer to be cold or too warm? How about your toilet trips, how’re they coming? These may be the sorts of questions which make some of us blush, so you better crack a window, it’s about to get Hotter in here. Tired of playing life by the straight and narrow, writers and performers Mary Higgins & Ell Potter are best friends, previously dating, and want to discover what gets you hot, and are tired of playing things cool. 

Chemistry is everything, and unsurprisingly, Higgins & Potter have it in droves. Not only with one another, but with their audience, and while there is little to no direct interaction, the room feels like one unit. It’s a safe space, where all the ‘gross’ or ‘private’ affairs are out in the open, slathered on the floor and up for discussion. Because why the hell not? Why should what makes us tick, how we bump, rub and grind through the world be something confined to closed doors, and in the cases of women and transgender, kept silent? Higgins & Potter have a voice, and they intend on using it to speak for the people they have interviewed, young and old, proud and self-conscious, shavers and growers.

More than spoken word, these interviews have been compiled into a delightful expression of movement, which moves from the ludicrous to the sultry, and the downright addictive. Further enhancing an authentic feel, the tightness of the pair’s movements does slip, they laugh, they tumble and smile at one another, and it completely sells the intent of the show – this is the paradigm of feelgood, inclusive theatre. Twerking, slow dancing and incorporating this movement into the physical aspect of comedy, Hotter may well be a comedy in shape, but it has a sympathy of dance sweats of spoken word beneath.

This comedic form prominently exposes itself cheekily as Higgins & Potter incorporate ‘skits’ into the production, is a piece of brilliance. Imitation is the name of the game as the pair give character to the voiceovers we hear of the interviewees. Ranging across the board, each person feels whole, even if a caricature. There’s a backstory in the way Higgins holds her nose up at the woman who preaches warm over cold, or an understanding slouch from Potter. Additionally, the recordings of the girls meeting with Pommie, Potter’s gran, adds a sincerity which touches a nerve, reminding us that despite the humourous nature there’s emotion to Hotter.

Unabashedly diving arse-first into the opinions and feelings concerning body hair, periods, boobs, body image and masturbation, Hotter isn’t here to educate, to drive opinion or push, this is a chat with sincere frankness in delivery. Reflective of the slow removal of clothes, Hotter doesn’t lunge face-first, it gradually builds, as if reflecting the growing self-confidence in accepting our bodies. Exquisitely simple, comforting, Higgins & Potter aren’t talking down to the audience, nor across them, this is our show, your show and it’s about the women and trans people who just want to talk about these things in as natural a way as possible. 

And that’s Hotter’s strength right there, Mary Higgins and Ell Potter. Who not only write a spectacularly exquisite production but carry it in such a genuine manner that nothing feels clinical or intense. Health conscious forbidding, the desire to leap up, embrace a stranger and feel a connection erupts as the show closes. Returning in August, it couldn’t be clearer that even as someone who prefers the cold, sometimes you just have to get a little sweaty, a little flushed and a lot, lot Hotter.

Photo Credit – Holly Revell