Traverse Theatre. Edinburgh
Jeremy Abrahams

Traverse Theatre

One of Edinburgh’s best venues for new writing, which hosts well-programmed mini-festivals across a pair of stages
  • Theatre
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Time Out says

As a doyen on Edinburgh’s cultural scene, the Traverse Theatre (known locally as the Trav) recently celebrated 50 years of bringing cutting-edge theatre and award-winning playwrights and performers to its stages.

 A venue known for risk-taking and innovation, it’s little surprise that it began life in the ‘60s as a theatre club in a deserted brothel in Edinburgh’s Lawnmarket. Today, it resides on Cambridge Street, in a purpose-built two theatre space, in the city’s busy West End. Located near to the plush Royal Lyceum Theatre, and next door to the recently renovated Usher Hall, between them the trio offer up some of the city’s finest culture.

Embracing its role as Scotland’s new writing theatre, the Trav regularly commissions and develops new plays, or adaptations from contemporary playwrights. It’s continually at capacity during the Fringe, and throughout the rest of the year it flexes its creative muscles with similar force, presenting an array of specialist mini festivals and seasons. Dance fans will enjoy their Autumn Dance Festival, while youngsters will adore their roundly excellent Imaginate strand, and popular Manipulate Visual Theatre Festival.

The basement café bar is a good place to spot well-known actors, or simply enjoy the creative buzz that surrounds the place, with a decent wine list on offer. The food menu is a fairly basic selection of posh sandwiches, salads and baked tatties, but the portions are hearty and occasional specials generally filling. Upstairs, coffees, muffins and the like can be picked up from the small coffee shop at ground level, with a tasty cup of coffee coming courtesy of Edinburgh’s award-winning roasters, Artisan Roast.      

Details

Address
10
Cambridge Street
Edinburgh
EH1 2ED
Transport:
Rail: Edinburgh Haymarket

What’s on

She’s Behind You

3 out of 5 stars
Pantomime in August? Oh no it isn’t! It isn’t, actually. True, She’s Behind You is a self-penned celebration of the daming career of Edinburgh panto legend Johnny McKnight, that’s performed by him in full Dorothy from The Wizard of Oz-themed outfit. And he does throw sweets to the audience. But he also swears a lot and eschews a fairytale plot in favour of an autobiographical night in which he shares stories from his career in panto, something that has taken up much of his adulthood. It’s a funny old show, but it starts off strong. Directed by the great John Tiffany, it fizzes into the room effervescently. There is, quite simply, a lot of mileage in a dame coming on stage in the middle of August and swearing a lot: it’s giddily subversive of the genre’s wholesomeness while embracing its undercurrent of naughtiness, and there’s just an illicit thrill to being reminded of panto at this time of year, like scoffing a plate of mince pies in March. Kenny Miller’s set is uncluttered by props, but built around a big star of colourful lights that glitters and twinkles like the world’s most fabulous dressing room. After a while it gets more earnest, as McKnight talks about what we might call his panto journey, which has taken in two decades, 18 dame performances, and 30 writing credits. The sweary veneer is largely put to one side and he speaks earnestly about his youthful days in panto and playing the sexless Silly Billy role, graduating to daming, getting pissed at an aftershow...
  • Drama

A Gambler’s Guide To Dying

3 out of 5 stars
This review is from 2015. A Gambler’s Guide to Dying returns for a tenth anniversary run at the Traverse in 2025. This is a nice way to start the Traverse’s Fringe programme: performer Gary McNair’s monologue ‘ A Gambler’s Guide to Dying’ is a tribute to his grandfather that blends a nostalgic warmth and a few good chuckles with some smart stuff about the nature of storytelling. It’s a bit MOR, but agreeably so, and crucially for a show about stories, it has a pretty good story itself. McNair’s grandfather was a gambler and teller of tall tales; often the two went hand in hand. ‘A Gambler’s Guide…’ repeatedly returns to an ever-shifting yarn about him supposedly putting a bet on England to win in the ’66 World Cup final, and allegedly getting beaten up in a bar in the Gorbals as a result. The young McNair was in awe of the old man, but as he tells it, he came to realise that not everything his granddad said was strictly true; that he was a gambling addict and a spewer of hot air, whose anecdotes often put an outrageous spin on the fact that he was neither successful, nor popular. But if it’s a show about a loss of innocence, it’s also about overcoming disillusionment and reaching an understanding with older generations. McNair comes to understand the small pleasures that gambling gave his grandfather, the comfort that exists in storytelling, the joy in buffing an anecdote until it becomes more memorable than true. And at the end of his life, when he was stricken with...
  • Fringe

Consumed

I think we can all agree at that this stage in human history, no genre – or subgenre, whatever – has been more comprehensively done to death than the dinner party reunion play. I say this not to criticise Northern Irish playwright Karis Kelly for having the temerity to write a drama in which four female generations of the Gillespie familiy gather for the occasion of Eileen’s ninetieth birthday and drinks are taken, secrets are revealed etcetera etcetera. But I do wonder if some of the wackier decisions at the end come from a well-meaning but ill-advised desire to break the mould. In fact for much of its length Katie Posner’s production for Paines Plough makes for a perfectly decent play, even if it does have a familiar rhythm. Julia Dearden is great fun as the sweary, outspokenly Unionist Eileen; Andrea Irvine, Caoimhe Farren and Muireann Ni Fhaogáin are all solid as, respectively, Eileen’s mumsy but on edge daughter Gilly, strident granddaughter Jenny and sensitive English great granddaughter Muireann. Everything putters on nicely, with Dearden’s caustic comic performance keeping things lively as we edge towards revelations about the whereabouts of Gilly and Jenny’s absent husbands. And then Consumed goes totally nuts, with a trio of mountingly bombastic twists fired off in bewilderingly rapid succession. The whereabouts of Jenny’s husband turns out to be fairly pedestrian. Gilly’s is wild. And a further revelation from Eileen is just totally out there, pitching the whole...
  • Drama

Nowhere

Directed by the fiendlshly clever Omar Elerian, this solo show from British actor Khalid Abdalla playfully traces his involvement in the Egyptian revolution of 2011 – and subsequent crushing counter-revolution. Described as ‘an act of anti-biography that asks how we got here and how we find agency amidst the mazes of history’, it’s produced by the pioneering company Fuel and plays the Fringe as part of the biennial Here and Now showcase. 
  • Experimental
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