Lanark.  At one point in the play the cast come out of character and one girl is asked "Have you read the book?"

"The first two chapters" she replies, or maybe it was pages.

I'm sure that's many people's experience and may even have been mine when I tackled it in the 80s since my recollection of it is vague.  Maybe I just read the reviews.  But David Greig who adapted it for the stage obviously has read it intently.  He, director Graham Eatough and a wonderful technical and acting team have made a terrific piece of theatre that demands no knowledge of the novel on which it is based but succeeds, as was their stated intent, in conveying every bit of its spirit.

From the opening shimmering sea through which our eponymous hero descends to his patient wait for death on the mountaintop at the end the staging is endlessly inventive and effective.   Exploding salamanders, adolescent in love, obsessive artist, night club patrons, conference delegates, talking lift, nappy clad baby.  These are only a sample of the roles that the cast undertake with aplomb.

It's a great show, destined perhaps to be the Black Watch de nos jours.

Giving Richter's Four Seasons a second chance was just the ticket.  I enjoyed it so much more at Zurich Ballet.  Don't know why but I did.  That was the music for the first piece, Kairos, which started with the dancers buzzing away behind a gauze marked out in staves like moths on speed as the light strobed violently.

I enjoyed Kairos in a relaxed sort of way but was absolutely thrilled by Sonett in which to the menacing and insistent pulse of music by Glass a dwarf Shakespeare and a richly clad Dark Lady play out a tale of tragic love amidst a swirling horde of  vigorous dancers.

Contrast Claire's view (entertaining but...) with The Guardian's assessment (not so amusing but....).