Wednesday, 30 December 2015

Now we are 70 - Looking back at our anniversary year

In 2015 we celebrated 70 years in our Gorbals home with plays that put Glasgow front and centre. We look back on a year of great theatre - what was your favourite?

We welcomed back the innovative Filter who started their UK tour of their radical version of Macbeth here at the Citizens. Who knew that Banquo's ghost couldn't resist a dinner party of Wotsits, Coca Cola and a high-stakes Blind Man's Buff?
Ferdy Roberts as Macbeth. Image by Tim Morozzo

Meanwhile our Circle Studio was one of the last places standing in John and Zinnie's Harris chamber opera The Garden set in a dystopian world.

Pauline Knowles in The Garden. Image by Jane Hobson

Audiences in Glasgow and Edinburgh welcomed back John Byrne's beloved Slab Boys with open arms in 2015. Those cheeky scamps were whipped into shape both on and off stage by David Hayman, who directed as well as performed the role of the boys' gaffer.

Our Valentine's press night saw the staff kitted out in their finest 50s gear and some very special guests in attendance.

"David Hayman rolls back the clock with an impressive revival of John Byrne’s Scots classic, The Slab Boys" The Big Issue ★

We're still trying to get the last of the paint off the Circle Studio after David Leddy's Fire Exit gave us a crash course in how not to get ahead in the murky world of art forgery in Long Live the Little Knife. 
Image by Tommy Ga-Ken Wan

Our friends Headlong (who return in Spring 2016 as co-producers on Observe the Sons of Ulster Marching Towards the Somme) brought David Hare's dramatisation of the Labour Party's failed 1992 election campaign which saw some eerie parallels with the political landscape in 2015.  The post-show discussion held just a few weeks before the General Election was a heated event! Playwright David Hare's Guardian article about his play sparked almost as much debate.

Image by  Marc Douet
We hosted Dead Centre's Lippy a haunting play inspired by the real life tragedy of four women from County Kildare who chose to take their own lives in mysterious circumstances.

Image by Jeremy Abrahams
 Lippy was presented as part of The Arches' Behaviour Festival. Very sadly, The Arches was forced to close in June following a controversial ruling from the city's licensing authorities.

We gave the premiere performance of Douglas Maxwell's Fever Dream: Southside and finally got an answer to the question: Where's Terry?

Set in the streets around Queen's Park, Douglas' funny and surreal was an affectionate but raw depiction of a part of Glasgow that has challenges and triumphs

Photo by Tim Morozzo

As well as celebrating our 70 years in the Gorbals, there was also a far more painful 70th anniversary in 2015, when we marked the end of World War 2. Gitta Sereny's Into That Darkness is a collection of interviews with SS-Obersturmführer Franz Stangl who oversaw the deaths of nearly 1 million people in Nazi extermination camps. 

Photo by Tim Morozzo

Our Mainstage Director in Residence Gareth Nicholls made his debut at the Citizens with a searing production, which was adapted for the stage by Robert David Macdonald. Macdonald was one of the three artistic leaders under whose leadership the Citizens became known around the world for contemporary tellings of classic texts. 

"...superbly acted drama is a meticulous, compelling triumph." The Guardian

We were busy over the summer months preparing for our most ambitious project to date: a stage adaptation of Alasdair Gray's iconic 20th-century classic, Lanark. Lanark: A Life in Three Acts was written by David Greig and directed by Graham Eatough whose collaboration first began with experimental theatre company Suspect Culture
Image by Eoin Carey

One of the most hotly-anticipated events at the 2015 Edinburgh International Festival, the eyes of the world were on the Citizens Theatre. It was met with rave reviews with audiences and critics, and audiences flocked to see the show when it returned home to Glasgow in September. 

"astonishing★ The Scotsman 
"superbly drilled and exhilaratingly confident piece of ensemble theatre"  ★ The Financial Times
"undeniably modernist and quintessentially Scottish"  The Telegraph


On 11 September 1945, the Citizens Theatre Company gave its first performance at the former Royal Princess's Theatre at 119 Gorbals Street.

We marked the occasion with an evening welcoming back old friends to the Citizens, and a documentary charting 6 months in the life of our theatre as well as some of our history broadcast on BBC Scotland and BBC Four. You can watch clips from the broadcast, including interviews with Pierce Brosnan and Mark Rylance on the BBC's Arts website

Lots of people got in touch to tell us about their memories of the theatre and the times that they've spent here, and we loved reading them all and hearing everyone's stories.

If you'd like to share yours, you can get in touch with us via our website.

Vox Motus and National Theatre of Scotland brought back the beautiful and stylish Dragon, having premiered the work at the Citizens in 2013. Since then, the production has travelled to China, won a UK Theatre Award for Best Play for Children and Young People, has been exhibited at the V & A and was invited to be be part of the 2015 Edinburgh International Festival.
Image by Peter Dibdin. 
We also celebrated the legacy of the notorious Close Theatre Club which has established 50 years ago with a season of three productions which honoured. Gareth Nicholls was joined by Vanishing Point Artistic Director Matt Lenton and Debbie Hannan to direct the works in our Up Close season in our Circle Studio. 
Images by Alex Brady.
Our third world premiere production in 2015 was a brand new musical for Scotland, created as a co-production with Ambassador Theatre Group. The Choir was written by Paul Higgins, with songs by Deacon Blue frontman Ricky Ross and told of a disparate group of people brought together to sing in a community choir, not always willingly, in Wishaw.

The corridors, offices and workshops of the Citizens rang with Ricky's hummable tunes that got everybody singing, and audiences loved this feel good night out.

We closed our anniversary year with two shows for families: the wild and anarchic Rapunzel burst onto our main stage while 3 - 6 year olds and their families were treated to an adventure to the North Pole in Flora's Fairy Challenge. 

Thank you to everyone who has seen one of our shows, got in touch with their memories of the theatre, taken part in one of our classes, or worked with our Learning team. 
Our Spring 2016 season is already on sale, including Beckett's Endgame and This Restless House, a new adaptation of the ancient Greek tragedy The Orestia. 
See you in 2016!

Tuesday, 3 November 2015

A Season of Ancient and Modern Classics at the Citizens This Spring

We couldn't wait any longer, and today we're sharing news of our fantastic Spring 2016 season, which goes on sale next Tuesday 10 November. 

Spring 2016 is packed with classic drama, both ancient and modern. The centerpiece of the season will be This Restless House, a trilogy of new plays by Zinnie Harris based on the epic Greek tragedy The Oresteia. This Restless House is a co-production with National Theatre of Scotland and will be presented over two evenings from 15 Apr - 14 May and will be a large-scale theatrical event,

Our Artistic Director Dominic Hill had this to say about the new season that he's put together:
Citizens Theatre Artistic Director Dominic Hill. Image Tommy Ga-Ken Wan

"As well as telling a story of a family whose loyalties to one another are tested in the most extreme way, This Restless House is about a changing society where the cracks in democracy are beginning to appear. I think our audiences will find plenty of resonances between today’s culture and the world depicted in Zinnie’s play, inspired by a work that has survived over 2,000 years.  This Restless House is part of a broad and varied season of work which recognises anniversaries of both the death of Shakespeare and one of the most horrific events of the First World War. It also brings great contemporary Scottish writing to a Glasgow stage and features co-productions with some of the best theatre companies in the UK.

Working with our co-producers enables us to present ambitious, large-scale work throughout our season and I’m pleased that we’ll be working together with companies from across the UK and Ireland and sharing the work that we make here in Glasgow with them. The Citizens is well-known for bold and innovative interpretations of classics, and with this season I feel we’re really delivering on that reputation."

The season in full includes:

ENDGAME 4 - 20 February 2016
A new production of Beckett’s darkly comic Endgame, directed by Dominic Hill.  Leading the cast are stars of Coronation Street David Neilson and Chris Gascoyne, better known as their Corrie characters Roy Cropper and Peter Barlow. Endgame is Hill’s second Beckett production at the Citizens following his highly successful double-bill of Krapp’s Last Tape and Footfalls starring the late Gerard Murphy. Following performances at the Citizens, the production will tour to HOME Manchester, co-producers on the project. 

Endgame at the Citizens Theatre 4 - 20 February 2016. Image Reuben Paris

BLACKBIRD 25 Feb - 3 Mar 2016
Following Into That Darkness, his five-star debut production on the Citizens’ main stage in 2015, the Citizens Main Stage Director in Residence Gareth Nicholls directs David Harrower’s Blackbird, one of the most important works of twenty-first century Scottish drama. Asking difficult questions about paedophilia and adolescent sexuality, the play depicts a confrontation between a young woman and a middle-aged man fifteen years after the end of their relationship when she was only twelve years old. 

GET CARTER 8 - 11 Mar 2016
ON SALE 10 NOVNewcastle’s NorthernStage tour to the Citizens for the first time with a dark and stylish production of Get Carter, the British crime drama made famous by the 1971 film starring Michael Caine. Set in 1960’s Newcastle, Torben Betts’ adaptation of the novel Jack’s Return Home by Ted Lewis is a hard and uncompromising look at a city’s underworld gang culture and a gripping noir thriller. Get Carter is directed by Northern Stage Artistic Director Lorne Campbell.

Many acts already on sale. Full programme TBAIn March, Glasgow International Comedy Festival takes over the Citizens Theatre, with confirmed acts including Jenny Eclair, Richard Herring, MarkWatson, Mark Steel, Shappi Khorsandi, Bridget Christie, Des Clarke, Greg Proops and James Campbell, with more acts to be announced.

Some of the acts performing at the Citizens Theatre in 2016.

The Royal Shakespeare Company’s A Midsummer Night’s Dream:A Play For The Nation features six amateur Scottish actors in the roles of The Mechanicals, including the iconic role of Bottom. The specially-formed Citizens Dream Players will perform alongside a company of professional RSC actors and pupils from Shawlands Academy.  In addition to performing on the Citizens’ stage the Citizens Dream Players will travel to Stratford-Upon-Avon in June 2016 to reprise their roles on the Royal Shakespeare Theatre stage.  Directed by RSC Deputy Artistic Director Erica Whyman, this ambitious tour involves fourteen amateur companies across the UK and marks 400 years since the death of William Shakespeare. 
A Midsummer Night's Dream: A Play for the Nation features six amateur actors alongside a professional cast

THIS RESTLESS HOUSE 15 Apr - 15 May 2016
ON SALE 10 NOVThis Restless House is a new trilogy of plays by Zinnie Harris based on the Greek tragedy The Oresteia by Aeschylus, and is a co-production with National Theatre of Scotland.  Harris’ plays tells the bloody saga of a family torn apart by a succession of murders and betrayals, set against the backdrop of a society on the brink of a revolution and learning to operate within a nascent and flawed justice system. First performed in 485 BC, today’s audience will find that Dominic Hill’s raw and brutal production brings the universal themes of justice, revenge, loyalty, and the evolving relationships between teenagers and their parents to the fore in his trademark theatrical style. Nikola Kodjabashia, composer on A Christmas Carol, Hamlet and Crime and Punishment returns to create new music for the plays, with Colin Richmond, designer on Crime and Punishment and Doctor Faustus also returning to the Citizens.  

The season ends with a major new co-production commemorating the 100
th anniversary of the Battle of The Somme.  Observe the Sons of Ulster Marching Towards the Somme by Frank McGuinness is a co-production between the Citizens, Headlong, Liverpool Everyman & Playhouse and The Abbey, Dublin. 
Directed by Headlong Artistic Director Jeremy Herrin, the production will premiere at the Citizens Theatre before a tour of Great Britain and Northern Ireland and performances at the Abbey Theatre, Dublin where it was first premiered in 1985. 

Observe the Sons of Ulster Marching Towards the Somme is a co-production between the Citizens Theatre, Abbey Theatre, Liverpool Everyman 

Tickets for all productions in our Spring 2016 season are available now to book online, or by calling our box office on 0141 429 0022. 

Tuesday, 20 October 2015

A Short History of the Close Theatre Club

We're at the heart of our Up Close season celebrating the 50th anniversary of the establishment of the notorious but short-lived Close Theatre. We asked Jenny Knotts to share some of her research on The Close Theatre.

On the evening of Tuesday 29th September 1964 throngs of cars carrying guests and supporters of the Glasgow Citizens Theatre drew up along Gorbals street. The occasion was a Gala evening to celebrate the 21st anniversary of the company. Adorned in evening wear, a stipulation usually reserved for opening nights, audience members poured into the majestic foyer ahead of the main event- a revival of James Bridie’s ‘A Sleeping Clergyman’,

Citizens Theatre founder James Bridie

As the curtain fell, the Chairman of the Board of Directors, Michael Goldberg, took to the stage to herald the imminent opening of a new, workshop theatre, adjunct to the Citizens, that would devote itself to theatrical experimentation. This intimate theatre would provide artists with a space to explore new texts and techniques free from the constraints and pressures of the proscenium arch. The announcement was met with rapturous applause and extensive media coverage as plans for the latest venture of the Citizens Theatre Company, and certainly its greatest since its move to Gorbals Street from the Athenaeum in 1945, got underway.
Nearly a decade later, in May 1973, staff and helpers scrambled among the ashes of the destroyed Close Theatre Club in a bid to salvage some evidence of the near 200 productions that had taken place ‘up the close’ at 127 Gorbals Street. Nowadays there is no physical remembrance of the Close, however its legacy can be found not only in the Tron Theatre, which was eventually formed to help fill the void created by the 1973 fire, but also in the very nature of modern theatre in Scotland. Despite its untimely demise, the Close Theatre Club altered the landscape of Scottish theatre forever.

The Close Theatre was destroyed by fire in 1973.

 The Close Theatre club was born from an ongoing rumbling of unrest, both within its parent theatre, the Citizens, and in the wider Scottish theatre community. The Citizens came under a great deal of pressure from patrons and the press to produce more new work. Aware of these demands and the building’s own growing pains, Goldberg, kept a watchful eye on a former dance hall, now notorious pitch and toss club which lay directly adjacent to the Citizens. In a fittingly dramatic twist of fate, a violent murder led to the immediate closure of the club. Goldberg seized the opportunity and stepped in.

The idea of a small experimental theatre was not merely enthusiastically welcomed but seemed impertinent to the company’s development. As Director of Productions, Ian Cuthbertson attested: “Every industry has its research department: the theatre is in no way different, only well behind.” This view was shared by those involved in the project and minutes from the inaugural meeting note:

It was agreed that this would be an exciting venture giving the opportunity for trying out new actors, new plays and new playwrights and also the opportunity to give full time work to more actors.
Out At Sea
Ross Allan and Robert Jack in Out At Sea as part of the Up Close Season 

From the outset it was decided that the Citizens and Close theatres would complement each other wherever possible, sharing both facilities such as scenic workshops, and staff including actors and technicians. One actor, Dermot Tuohy, managed to perfectly embody this mutual  benefaction in the early days of the Close by playing a small role in first act of the main stage production, then dashing offstage and upstairs to play a prominent role in the second piece in that night’s Close double bill.

The Close quickly carved a niche for itself in staging lesser seen works by well-known writers as well as brand new pieces. Olwen Wymark’s first play Lunchtime Concert was a notable success in the early years of the venture and was later revived in a triple bill of the playwright’s work-testament to the theatre’s dedication to developing emerging artists. One act plays were preferred, with audiences usually being treated to a double bill – on occasion returning after the interval to discover the layout of the theatre had changed entirely during the interval from apron to in-the-round – such was the diversity of the space. Later script readings, film nights, opera and even ballet would grace its versatile stage.

Director Charles Marowitz''s Doctor Faustus in The Close Theatre caused controversy

An infamous episode in 1965 involving Charles Marowitz and an interesting interpretation of Doctor Faustus and a mask of the queen’s face, resulted in the abandonment of the opening night performance in favour of an impromptu debate between audience and management about whether or not the show should go ahead. The incident afforded the club its first front page controversy, and sparked interest far and wide in the new little theatre. With membership soaring to over 2,000 the Close firmly cemented its position as the most theatrically exciting venue on the west coast.

Lot and His God 3 - 10 October 2015 Pauline Knowles as Sverdlosk and Cliff Burnett as Lot
Pauline Knowles and Cliff Burnett in Lot and His God as part of the Up Close season
With the arrival of Giles Havergal, Philip Prowse, and later Robert David MacDonald, the Close theatre continued to be a hive of theatrical experimentation and boundary shattering productions. So too, however, was the main stage. While the Close undoubtedly offered theatre goers a unique experience in the intimate nature of the auditorium and the buzzing social hub of the bar, it was no longer the only place on Gorbals street one could find theatrically outlandish and exciting work. Of course there were certain productions that would never have been possible, or as effective, on the Citizens main stage such as Artaud’s The Cenci which hit headlines with its naked photo call and introduce Scottish theatregoers to concept of the Theatre of Cruelty. In the latter days, just as popular as the productions themselves were the nightclub and restaurant (doubling as staff canteen) which made the Close both the place to be and to be seen. 

Yet its original purpose was no longer quite as urgent as it had been in the early years of its life. In the years following the fire Giles told Michael Coveney
 “In the old days the Close was a leech, using a lot of manpower and resources, and it drove us mad. But once we were up and running we felt differently about its loss – to the extent that, today we feel we could once again do with another space.” 
Of course the Citizens would later acquire not one, but two studio spaces each of which hosted some of the company’s most exciting work.

Lot and His God 3 - 10 October 2015 Daniel Cahill as Drogheda and Cliff Burnett as Lot
Daniel Cahill and Cliff Burnett in Lot and His God as part of the Up Close Season
As the trendiest place to be seen in Glasgow, the city’s first unofficial gay bar and the only place either side of the river to serve drink on a Sunday, the Close contributed much more to the cultural fabric of Glasgow than simply theatre. Its significance cannot be overestimated. Not only was the intimate theatre the first of its kind in Glasgow, but the Citizens Theatre was the only one in Britain to harbour two theatre spaces under one roof at the time. In this achievement alone we can regard the Close Theatre Club as a pioneering enterprise in British theatre as the studio space gradually became a staple in venues up and down the country. The Close stage was also home to a plethora of theatre heavy-weights during the formative years of their careers including Steven Berkoff, David Hayman, Peter Kelly, Ann Mitchell, Ida Schuster, Billy Connolly (who would later headline a post-fire Close benefit gala) Richard Wilson and many more. The Close Theatre Club undoubtedly marked a key moment in Scottish theatre - now immeasurably richer for its existence.

until 24 October 
By Sławomir Mrożek 
Directed by Matthew Lenton
Presented in association with Vanishing Point

31 Oct - 7 Nov
By Sam Holcroft

Scottish Theatre Archives, University of Glasgow Library
Magic in the Gorbals, Cordelia Oliver
The Citz, Michael Coveney
Up the Close: The Close Theatre at the Citizens’, Glasgow’ J Riddel  

Tuesday, 13 October 2015

Getting Up Close

Our Up Close season is celebrating the 50th anniversary of the legendary Close Theatre with a month raw, challenging and visceral theatre in our intimate Circle Studio. One play in, and audiences are loving getting Up Close to some top acting talent and re-living the heady early days of experimental theatre in Glasgow. 

“It was illicit, and it felt like Glasgow's only gay club at the time. It was inspired by the Traverse, which had opened in Edinburgh two years before, and the desire to get something that was the equivalent of the Traverse on the west coast. At the time it existed it was vital in a lot of ways because there was nowhere else that was really like it." - Artistic Director Dominic Hill talks to The Herald about Up Close

And when we say Up Close, we mean close. Like, really close. This is an actual representation of the view from your seat when you book for one of our Up Close shows. 

Daniel Cahill and Cliff Burnett in Lot and His God. Image by Alex Brady. More production images available to view on Flickr
Really enjoyed 'Lot And His God.' Personal highlight was the guy with lipstick on his nipples @ewansomers 🎭🙇🏼💋

"an electric set of power games"The Herald
"a tense and eloquent four-hander" The Scotsman
"this minimalist approach works wonders" Broadway Baby
"Debbie Hannan's splendid, edgy direction retains the potency of Barker's script" ★ Across The Arts

Read more audience and critics' comments on Up Close on Storify.

Availability for Lot and His God, was tighter than Frank N Furter's corset* so don't leave it too late to book for the rest of our Up Close season!

Directed by Matthew Lenton, Vanishing Point Artistic Director
17 - 24 Oct

Directed by Gareth Nicholls, Mainstage Director in Residence
31 Oct - 7 Nov

*First worn by Tim Curry in The Close Theatre's 1971 production of Jean Genet's The Maids. Allegedly.

Tuesday, 22 September 2015


On Sunday 20 September, the Citizens Theatre Company celebrated 70 years in its Gorbals home in Glasgow with an invited audience of actors, current and former staff and friends of the company. 

Fidelis Morgan
Maureen Beattie
Former and current stars of the Citizens Theatre stage including Celia Imrie, Rupert Everett, Miles Jupp, Maureen Beattie, Ron Donachie, Ann Mitchell and Fidelis Morgan took the stage to perform extracts of some of the plays which have made the Citizens Theatre famous and share their memories of the theatre. 
Celia Imrie
Rupert Everett
 Giles Havergal, one of the three artistic leaders of the Citizens Theatre alongside Robert David Macdonald and Philip Prowse under whose leadership the Citizens Theatre flourished, performed extracts from his adaptation of Travels With My Aunt by Graham Greene. Havergal described the production from 1989 as ‘truly among the happiest days of my life.’
Former Artistic Director Giles Havergal

Some of the Citizens’ most notorious productions have been performances of Hamlet, and the audience were treated to performances by Brian Ferguson (Hamlet, 2014), Peter Guinness (Claudius, 2014), Andy Clark (Hamlet, 2007), Cal MacAninch (Hamlet, 1996),  video contributions from Henry Ian Cusick (Hamlet, 1993) and David Hayman (Hamlet, 1975 & 1970), and a live appearance by John Cairney, the Citizens’ first Hamlet in 1960, and as a graduate of the Royal Conservatoire of Scotland, formerly known as the Royal Scottish Academy of Music and Drama, the first Scottish-trained actor to perform the role. 

A trio of Hamlets: Cal MacAninch, John Cairney, Andy Clark

The Citizens’ current Artistic Director Dominic Hill thanked the audience for attending, and appealed for support for the theatre’s planned redevelopment, scheduled to begin work in 2017.

Artistic Director Dominic Hill

 The audience also heard an exclusive first performance of ‘Us Two’, one of the brand new songs by Deacon Blue front man Ricky Ross written for new Scottish musical The Choir, book by Paul Higgins, opening at the Citizens Theatre on Thu 29 October 2015.
Paul Higgins

Sarah Tansey and Miles Jupp

 The evening closed with an appearance by Ida Schuster, 96, performing an incredibly spirited extract of Jean Genet’s The Balcony, performed under a screen projection of production images from her appearance in the play in 1982.

Ida Schuster
 Founded in 1943 by James Bridie, the Citizens Theatre Company moved into the 1878-built theatre at 119 Gorbals Street formerly known as The Royal Princesses’ Theatre. Since then, the Citizens has gained a reputation around the world for bold, innovative, provocative and challenging interpretations of classic texts, as well as productions that celebrate the Citizens’ role in Glasgow’s cultural life.
Citizens Theatre 70th anniversary celebrations Sunday 20 September 2015. Images by Tommy Ga Ken Wan

 To see a full set of images from our celebrations, visit our Flickr page. 

Do you have memories of the Citizens Theatre 70 year history? Share them with us!  

Wednesday, 26 August 2015

"You – Lanark - you’re very interesting"

After previews in Glasgow and Edinburgh, Lanark: A Life in Three Acts received its world premiere performances at the Royal Lyceum Theatre Edinburgh on Sunday 23 August as part of the 2015 Edinburgh International Festival.  

Sandy Grierson and Helen McKay. Credit Eoin Carey
Audiences and critics have been blown away by this epic, ambitious and imaginative adaptation of Alasdair Gray's classic novel written by David Greig and directed by Graham Eatough.

"The linchpin of the production is Sandy Grierson’s astonishing performance as Lanark himself...supported every step of the way, though, by so many other strands of Eatough’s astonishing production."  
★★★★★ The Scotsman 

"Between them, David Greig and Graham Eatough have brought together what is a complex and challenging read that looks at society, sex, death, socialist ideals, love, problematic relationships with women, fathers and sons to create a funny and astounding piece of theatre produced on an operatic and highly physical scale." 
★★★★★ The Edinburgh Guide

"The great achievement of the adaptation is that performers and staging sail through the fantasy, from sci-fi to simple nightmare, with fleeting echoes of Beckett, Kafka, Pinter and Joyce, in a superbly drilled and exhilaratingly confident piece of ensemble theatre...David Greig’s writing and Graham Eatough’s direction leave one intrigued, puzzled and even tempted to go back for more." 
★★★★ The Financial Times (£)

Sandy Grierson. Credit Eoin Carey
"When Sandy Grierson as Alasdair Gray's eponymous alter-ego in David Greig's sprawling adaptation of Gray's magical realist 1981 novel declares that he wishes to pen a modern day Divine Comedy with illustrations inspired by William Blake, it knowingly sums up the artistic ambitions of both Gray and Graham Eatough's equally epic production." 
★★★★ The Herald

"Eatough's production, which is splendidly designed, for the most part, by Laura Hopkins, and blessed with amazing video work by Simon Wainwright, is undeniably modernist and quintessentially Scottish."
★★★★ The Telegraph

"David Greig and Graham Eatough’s insanely ambitious adaptation of the Alasdair Gray novel is like a heady, unsettling, unpredictable dream" 
★★★★ The Guardian

"as a big festival event it is timely and memorable for all the right reasons"
★★★★ The Stage

"a bold, bonkers and brilliant production that should please even the most die-hard of Gray fans...loud, large and visually stunning." 
★★★★ The List

"A world of hugely entertaining possibilities is on display in Lanark. The co-production between the Citizens Theatre and the International Festival has all of the excitement and weight of a capital-letter Theatre Event"
★★★★ All Edinburgh Theatre

Lanark: A Life in Three Acts plays at the Edinburgh International Festival until Monday 31 August, and plays at the Citizens Theatre, Glasgow 3 - 19 September.