Lavish, laugh-filled modern

This Scottish version is a fine fit with Ibsen’s original, visionary foretelling

like sets by Richard Hudson – is to remind us of the sheer enduring brilliance, and continuing power, of Ibsen’s original vision. At a moment of civilisational crisis brought about by uncontrolled greed and power-hunger, and often driven by toxic ideas about masculinity, it is breathtakingly impressive to see how accurately Ibsen foresaw both the crisis, and the psychological detail of the cult of individualism that would bring it about.

Kent’s production slightly loses focus and shape during the long spiritual coda of the third act. Yet for most of its three and a half hours, it remains a brilliant and often hilarious account of a male life run off course and then redeemed at the last; all built around a fascinating, complex, vulnerable and very funny central performance from James Mcardle, with magnificent support from Ann Louise Ross as his indomitable, scathing yet loving mother, and Anya Chalotra as Sabine, who waits for Peter through a long lifetime, singing a heart-stoppingly beautiful song as she goes.

JOYCE MCMILLAN

Until 10 August triangle – and praise to Scottish Ballet for recognising the benefits of bringing together a choreographer (Pickett) with a theatre director (James Bonas – credited here as ‘artistic collaborator’).

This strong sense of characterisation runs through the entire piece, from the maligned slave Tituba (a great guest performance from Ballet Black’s Cira Robinson) to the repetitive staccato moves of loathsome judge, Danforth (Christopher Harrison, strong as ever).

Wrapped around this concrete core is a powerful score by Peter Salem, whose fast violins fuel the sense of panic and gentle melodies flood the stage with love. An atmospheric, imaginative set and lighting design shows off all of the above, capturing the claustrophobia and darkness of a community lost inside itself.

KELLY APTER

Ends tonight