“Director Fraser MacLeod utilises the compact studio space to good effect and there is an inherent claustrophobia that goes with the mousetrap design of the layered set. The soundscape is also vaguely oppressive and generally threatening, as childhood games become sinister and rules become more ritual than regulatory.”

The Herald for Collateral Damage

“Director Fraser MacLeod and his team can take pride in a show that obviously loves the tale of Jack and the Beanstalk, even as it works out a few bold variations on it; and is perfectly designed to give audiences of children a gorgeous, three-dimensional theatrical experience, tailored specially for them.”

The Scotsman, for Jack and the Magic Beans

“From the stillness of its opening moments through to its cleverly constructed musical finale this is a show which aims to please, but not by compromising its obvious integrity.”

The Edinburgh Guide for Now’s the Hour

Now's the Hour
Now’s the Hour

“Fraser MacLeod’s twist on the tale works a treat, actively drawing the tinies into sorting out the truth. Baby Bear is encouraged to be contrite, Goldilocks proves a good egg, forgiveness is all-embracing like a hug of goodwill, and SYT lets the magic of live theatre sneak up on everyone.”

The Herald for It Wasn’t Me, It was Goldilocks

It Wasn't Me it Was Goldilocks
It Wasn’t Me, It was Goldilocks

“…it’s often magical, and pleasingly strange; and it captures that quality of surreal, left-field imaginative fantasy that is present in all Shakespeare’s pastoral comedies and romances, funny, unpredictable, and as postmodern as if the play had been written yesterday.”

The Scotsman, for A Midsummer Night’s Dream

“There’s a moving chord-striking chore to Fraser MacLeod’s production”

The Scotsman for Born Bad?

“It’s not a comfortable hour or so, but it is a thought provoking one; and it’s evident the 16 young performers have really challenged themselves to dive right into societal conundrum”

The Herald for Born Bad?