CATS Awards



We’re about at half term for the awards season, with the CATS Awards occurring in early June this year. So far, the chatter among the critics has covered a great variety of work, from grand scale projects to more modest pieces. It’s a long way from the finalising of short lists yet, but a couple of shows at least have figured in impassioned discussions.

Almost inevitably, Black Watch has occupied a good deal of chatter, and it’s hard not to see John Tiffany’s production of Greg Burke’s reflection on the lives of ordinary soldiers and their experience of Iraq not receiving several nominations. Anthony Neilson’s Realism, is a different kettle of fish altogether, since it plainly divided the critics, those (among whom I count myself) who admired it will no doubt put up a strong case on awards lunch day, but the play has equal numbers of detractors, so might make for absorbing discussions and interesting outcomes. Tutti Frutti, too, is bound to fall into nominations discussion. But neither this piece, nor the several other fine pieces of work from the NTS are liable to have it all their own way. Of the smaller scale shows, the most notable for this critic would be Tom Fool at the Citizens’ Theatre, a tiny scale studio piece which for two performances and its direction alone, must be in contention. And while being locked in a loo with luvvies may not be everyone’s cup of tea, Andy Arnold’s site specific in the Arches toilets, Spend a Penny must be prominent in several minds. On the new writing front, as well, the contributions by Morna Pierson and Iain Findlay MacLeod to the Traverse Cubed season have already provoked discussion, and warrant more.


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