Press

“Jack and the Privately Owned Beanstalk by Theatre 118 is everything a panto should be: wildly entertaining, fast-paced, ridiculous, outrageous, and most crucially 'theatre for the people' [...] it's certainly worth the affordable ticket price, and in doing so you will be supporting the important existence of Glasgow's Theatre 118.”

“Theatre 118 have given a platform to local emerging theatre makers and here again what we get is though they are down at heel they are not lacking in ability [...] All power to their elbow.”

“Glasgow's liveliest DIY theatre company close their first year of operations... with a cheekily irreverent take on panto. Callum Latham and David Hewitson's script becomes a love letter to the festive theatrical form that also manages to make some pithy comments on big city gentrification.”

“Taps into the hormonal hunger of young women on the verge with a comic dynamism and an unfiltered frankness that could make a nun blush.”

“First seen in Birmingham prior to a run in San Diego, Jaeonnie Davis-Crawford's production brings out the light and shade of Ryan's monologue. She performs this with an off-kilter kookiness and dark edged wit that taps into the everyday absurdity of Alex's situation while never losing sight of the life and death desperation at stake.”

“A vivid, funny portrait of '90s Glasgow with heart and edges”

“They capture eloquently a sense of how a group that should have been looking forward to life are having to deal with the vagaries, left behind by the old men and women who refuse to insulate them against the mistakes that they made. It's a timely piece that promises much for the future of Pure Class Theatre.”

“Paper Hat Theatre, hampered by a late substitute and unable to provide their full 4-4-2, do a handsome job of bringing the script to stage.”

“Marber's machine gun exchanges are brought to life in Michael Panikkou's production by Euan Galbraith as a hangdog Johnny, Jamie Cunningham as a quietly driven Jordan, and Derek Banner stepping in at the last minute as Jimmy due to illness of original cast member Michael H. Steel.”

“Will has a very engaging presence, which comes across very well on stage. His poetry is rhyming performance poetry, which has many pop cultural references and some local references which hit particularly well. His presence on stage takes us through the comic interludes of his life, with particular favourites being Public Schoolboys love World Music and the haiku.”

“With Fox herself playing Jeanie, and Tam brought to life by Codge Crawford, the end result is a moving look at how two young lives full of hope find and lose each other. With Fox and Crawford on stage throughout the show's 80 minutes, as Jeanie and Tam move from being excited infants before treading very different paths, this heartfelt tale of loss shows how the long term trauma following one appalling moment can cause the music to stop forever.”

“This show is rapidly approaching the end of its run but comes as a highly recommended piece of theatre. Tight script. Superb delivery. Creative direction. There's lots to admire. Seek it out if you can.”

“This storytelling show is full of impeccable comedic timing, audience interaction and gut wrenching moments around violence towards women. We as the audience are not only observing. We're learning. We're connecting. We're taking a trip through history. Trystan flows on stage with a regal presence and sensuality, through Kate Stamoulis' strong direction in such an intimate space, and the story balances soft moments around grief and parental trauma. It's easy to feel empathy for our lead.”

“What follows over the next hour of Alan Muir's play is a devilish debate that tests the moral fibre of each participant. As things take a multitude of fantastical twists and turns, the action enters the realms of supernatural cult fiction and psychological thriller.”

“In a high-rise flat in Glasgow, a journalist (Derek Banner) enters under the guise of concern for an elderly woman, pretending he is from the council. He questions her living circumstances and tries to discover what her story is. The woman (Angela T Edgar) reveals a shocking truth to him and shakes his reality.”

“Morning Star brings an intriguing close to the Play of The Week season with its dystopian vision, demonstrating that Theatre 118 is thoroughly willing to take risks. That is truly refreshing for their effervescent energy is precisely what the Glasgow theatre scene needs right now. And on this evidence, it is working: reaching talented playwrights, brilliant actors, and appreciative audiences. If Theatre 118 can achieve this level of excitement and sheer dazzle in a few short months of existence, think what they might have to offer next season.”

“Suicide, and Other Acts of Selfishness is rich with that black Scottish humour that you won't get anywhere else. Lee-Hamilton's writing is skilled with the ability to create tension and easily break it with a laugh.”

“This is a triumphant premiere that will be tweaked into an even more stunning production that makes an important contribution to the discussion of male mental health.”

“This second show by grassroots company Theatre 118 as part of its Play of the Week season makes the most of its DIY studio space in an empty Glasgow office block. By ramping up the captive claustrophobia of the situation, Calderwood's short, sharp shocker is captivating enough to potentially spawn a TV drama of its own.”

“The Lord moves in mysterious ways in Colin McGowan's rapid-fire production that sees Patrick's stream of one liners go beyond what initially looks like an extended routine into a scabrous comic look at the painful extremes of blind faith.”