David Kettle

The Los Angeles Philharmonic's Edinburgh International Festival concerts under Gustavo Dudamel received four-star reviews. Gabriela Ortiz's Revolución diamantina was praised for its distinctive voice, feminist subject matter, propulsive rhythms and powerful orchestral performance, while Beethoven's Seventh Symphony was celebrated for its furious momentum and noisy energy. Beethoven's Pastoral Symphony was beautifully articulated but considered too dreamy and lacking bite. Thomas Adès's Inferno, based on Dante's Divine Comedy, was the more successful dark spectacle, combining threatening soundscapes with humour and vivid depictions of hell.

David Kettle reviews three Edinburgh Fringe plays about therapy and trauma. Safety, by Michael Reid and performed by Reid, is praised as an elegant thriller and critique of abused authority. Robin Hawdon’s Primal Scream benefits from strong performances and perceptive themes about class and privilege but is criticized for presenting only the set-up of a planned two-act drama. Nate Wise’s I’m Mom, inspired by his mother’s death and his use of Gestalt therapy, is found to be funny, moving and quietly affirmative about therapy, vulnerability and the persistence of unresolved trauma.

The Scotsman reviews seven Edinburgh Fringe theatre productions, with Quaz Degraft’s In the Black emerging as the clear standout for its focused storytelling, exploration of race and ambition, and charismatic performance. We Had Fun offers an uneasy examination of consent but lacks a convincing resolution, while A Public Display of Affection provides a tender reflection on gay life and AIDS-era loss. The Last Mad Man delivers sharp satire of corporate branding and consumerism. NON HUMAN ANIMAL explores trauma, mental health and restorative justice with mixed theatrical results. CVNTCLAVE and Hamlet: Prince of Sweden receive two-star reviews for superficial writing, limited dramatic impact and insufficient comic invention.

A round-up of five Edinburgh Fringe productions finds Good With Faces to be a gripping two-hander about care, bureaucratic authority and the expectations placed on mothers. Day of the Locust offers a compelling solo adaptation of Nathanael West’s dark satire of Hollywood, masculine violence and the American Dream, updated with references to smartphones, ICE raids and wildfire alerts. Helen Bradley: Painter and Storyteller presents the Lancashire artist’s life and family stories with warmth and charm. Bunny! delivers flamboyant drag cabaret and sharp satire of theatrical pretension, although its targets may be clearer to industry insiders. Crush follows two Somali teenagers with eating disorders whose connection develops in an NHS clinic; its central relationship is affecting, but the writing and treatment of cultural themes are uneven.