Theatrical Tapas — The Art of the Short Scene

Theatrical Tapas had nine short scenes and snippets by St Andrews MLitt and MFA students on the menu. True to its name, the show was a selection of theatrical small plates- some sharply seasoned, others still finding their flavour, but all a testament to the range and potential of emerging voices. With a mix of comedy and drama, and a wide ensemble of performers, the show felt as much a celebration of collaboration as it was a platform for emerging writers.

What made this production particularly refreshing was its embrace of comedy. In a town where student theatre often leans towards the serious and cerebral, Theatrical Tapas stood out by giving the audience permission to laugh.

The comedic highlights were plentiful – from absurdist sketches to sharply drawn satire – including a botched proposal, a dramatic reading of Bono lyrics and a parade of exaggerated archetypal characters including eager waiters that joyfully lean into theatrical cliché.  

Credit: Instagram/@theatricaltapas

The comedic pieces generally landed more successfully. Their immediacy, rhythm and character clarity allowed for stronger audience connection within the brief format.

Standout moments included ‘Velvet Cake’, a clever piece about a writer retreating to a ski resort to escape a string of scathing reviews. Richard (Elliott Reed) and Jonathon (Marco Gil Harris) played into the scene’s meta-theatrical humour and sharp dialogue perfectly, striking the balance between wit and vulnerability, whilst poking fun at pretentious turtleneck wearing tortured artists. 

‘A Labour of Love’, by contrast, tackled more serious content, following two sisters navigating the emotionally fraught terrain of illness and surrogacy. Heartfelt and yet hilarious, the scene’s writer Imogen Griffiths masterfully crafted a poignant exploration of sisterhood and ambition. 

From start to finish, the sheer number of actors involved brought a welcome energy and inclusivity to the stage. The variety of roles allowed many performers to shine, with some delivering standout performances across wildly different characters. Margo Anderson was particularly versatile, shifting from a glitching young son caught in a grief therapy simulation, to a flamboyant Italian waiter, a hilariously unhinged stalker, and finally an exhausted solider in a trench. Each performance was distinct and full of comedic precision, a true testament to her talent.  

The dramatic scenes, while ambitious, occasionally lacked the depth and context to build empathy within such a short time. The show’s format- a rapid-fire sequence of short scenes- allowed for experimentation and momentum. While not every piece fully landed, the variety and pace kept the audience engaged. Adding to its sense of purpose, the production also donated proceeds to the Scottish Book Trust, supporting literacy efforts across Scotland. It was a fitting gesture from a show so rooted in storytelling and the written word.  

The charm of Theatrical Tapas lies in its format. These short works gave the audience a glimpse into the creative breadth of St Andrews’ student writers, and the evening as a whole felt like a celebration of both experimentation and potential. 

As the first showcase of its kind, Theatrical Tapas set a strong precedent. If this evening is anything to go by there’s great promise in making it an annual tradition. At a time when joy can sometimes feel like an afterthought in student theatre, this showcase delivered it in generous portions.