The Citizens Theatre

Finally found some professional pictures on flickr from the two productions I worked on as a Scenic Artist at the Citizens Theatre for 5 weeks back at the start of the year (photos courtesy of Eamonn McGoldrick) The set looks brilliant for both shows, I'm still pretty chuffed :) Brings back memories of eating dominoes pizza and listening to 60's music full blast on the nightshift! Loves what I do!

'Museum of Dreams'

The Scotsman newspaper ****

"True love certainly conquers all, though, in TAG's new children's show Museum Of Dreams, presented in a gorgeous little hexagonal space specially created in the main rehearsal room of the Citizens' Theatre. A curtain opens, and an excited audience of around 20 children are welcomed by a middle-aged caretaker (Keith Macpherson) who shows off his five exhibits, displayed in glowing old-fashioned glass cases around the walls. There's a chair, a violin and banjo, a pair of tap shoes, an old-fashioned gramophone, and a mysterious box; and after the keeper nods off to sleep, a puppet girl in a yellow dress emerges from the box, and dreams and reality – puppet world and real world – begin to merge in ever more exciting and magical ways.

Somewhere at the heart of this lovely show, there's a metaphor about friends or lovers finding one another despite coming from very different worlds. But whatever you make of the slightly sentimental happy ending, Ailie Cohen and Guy Hollands's production is an absolutely enchanting magic toybox of a show, a child's dream come true; and it makes a brilliant curtain-raiser to next week's Imaginate children's festival in Edinburgh, where it plays at the Brunton as part of the usual thrilling international programme for audiences under 16."


The Guardian newspaper ****

"All of us are haunted by dead ideas and dead opinions," says the matriarchal Mrs Alving in Ibsen's drama about new ways of living and old skeletons in the closet. Ironically, 130 years down the line, it is the dead ideas of Ibsen that haunt today's stage. No modern playwright would be able to get away with an opening act in which Pastor Manders tells Alving not to take out insurance on her new orphanage, followed by a closing act in which the orphanage burns down. The mechanics are just too obvious.
And whereas in Ibsen's day, Manders was the voice of conventional but very real authority, today he is one step away from ridicule, his homilies about marital fidelity sparking derisory laughter. It's a great credit to Kevin McMonagle that he plays the part with such conviction, riding the laughs but never playing for them, revealing a character who, like all of us, is a product of his age; well-meaning but blind to the bigger picture.
Despite it all, what strikes us is Ibsen's modernity. This is especially clear in Jeremy Raison's streamlined production of the recent translation by Amelia Bullmore, performed without an interval on Jason Southgate's airy, bleached-wood set. Alving's belief that "propriety and law make all the misery in the world" still has a radical charge, while the free-thinking life of her artist son (an excellent Steven Robertson) retains its unconventional allure.
In the lead role, Maureen Beattie seems too big for the world she is born into, too big almost for the stage. Despite the pressures - faithless husband, illegitimate stepdaughter, syphilitic son - she remains unbroken, too proud to let us wallow in her tragedy, too intelligent to accept defeat, making her a very modern woman."


  1. aww i love the pictures :]
    and i don't think it's weird that you met your bf from online. i met my ex from online too. well, we won't know where we gonna meet our important persons from, right?

  2. wow you have an incredible job - those scenes look brilliant :)

  3. Hey there, glad you found, and like the pictures! I have to thank/credit Eamonn McGoldrick, the photographer who took both sets of pictures. You can see more of our pictures here: