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Articles by Andrew Edwards
Apparel manufacturer extends lease in Northern New Jersey
New York-based fashion company renews at Heller Park Somerset for five years By Andrew Edwards CoStar Research September 22, 2026 | 7:24 P.M. Skiva International, a New York-based apparel manufacturer and wholesaler that also operates under the name Trendset Originals, has renewed its lease for 129,785 square feet of industrial space at Heller Park Somerset in Somerset, New Jersey.
A brief history of comic book vampires - including a homage to Donald Trump Original
In Bram Stoker’s novel Dracula (1887), an English solicitor (Jonathan Harker) is sent to Transylvania to assist Count Dracula, an aristocrat, in his move to England. When Harker discovers Dracula lying in a coffin after feeding on blood, he understands the threat that Dracula poses to England. Vampires have long represented our political and social attitudes to race, immigration and the threat of foreign invasion – reflecting the prejudices of their times.
Invasive grasses are worsening bushfires across Australia’s drylands Original
As the semi-arid Pilliga Scrub burns in New South Wales, many of us are thinking about fire once again. It’s an El Niño summer in the hottest year on record. And there’s a remarkable amount of grass drying out and ready to burn. Over the past few years, more rain than usual has fallen over vast regions of Australia’s rangelands, the arid and semi-arid regions that account for most of our land mass. These rains have triggered an enormous boom in native grasses.
SILVER LINING BEHIND A FAILED WORLD CUP CAMPAIGN
Andrew Edwards For a sixth-successive World Cup campaign spanning twenty-four years, our nation is left to mull over the gloom of a failed campaign. Failing to qualify on this occasion, though, may prove a real blessing waiting to be realised. In what was his last interview as interim head coach of the Reggae Boyz, Paul Hall painstakingly emphasised the need for a long-term plan that will give us a better chance of international success.
Review: Dance International Glasgow, Tramway
Everybody With Me, Always by Freestylers at Dance International Glasgow. The onset of Dance International Glasgow, which occurs every two years in venues across the city, is always a source of huge excitement for me. I’ve relished the opportunity to encounter contemporary dance that is largely from beyond Scotland’s borders. The intervening two years since its last iteration in 2019 have been like no other.
Review: Always Already at Birmingham International Dance Festival (online)
Karen Christopher and Tara Fatehi Irani in Always Already. Photo: Jemima Yong. “We are what is growing and what is making and being made, we are the plants, we are the machine. We are working the length of an average work day.” Always Already is a performance installation, and was livestreamed from Dance4 in Nottingham as part of Birmingham International Dance Festival.
Review: Take Me Somewhere festival, Glasgow (online)
Mele Broomes’ Wrapped Up in This, as part of Take Me Somewhere. Costume design, Sabrina Henry; lighting design, Robbie Thompson; filmmaker, Daniel Hughes. Take Me Somewhere has become a vital component of Glasgow’s theatre, dance and performance scene. Since its inception in 2015, it has regularly offered a significant platform to local performance artists and brought international perspectives into contact with the city and its communities.
Legal Warriors Clash Again (Mar. 10, 2004)
Two old adversaries have squared off in the fraud case brought against Pacific Lumber Co. by Humboldt County District Attorney Paul Gallegos. In one corner is Gallegos' lieutenant, Tim Stoen, formerly of the Mendocino County District Attorney's Office, who wrote the original 45-page complaint. In the other is Jared Carter, Pacific Lumber's lead counsel and vice-president. Both are deep in their 60s. Both are veterans of contentious North Coast lawsuits. Both are Stanford law graduates.
Indigenous expertise is reducing bushfires in northern Australia. It's time to consider similar approaches for other disasters
Northern Australia is by far the most fire-prone region of Australia, with enormous bushfires occurring annually across thousands of square kilometres. Many of these vast, flammable landscapes have precious few barriers to slow down a fire. Infrastructure and resources are limited, and people are widely dispersed across the region. Fire risk reduction in the recent past included very local prescribed burning operations.
Review: High Man Pen Meander at Tron Theatre, Glasgow (online)
High Man Pen Meander at Tron Theatre, Glasgow. Designer, Ruth Darling; lighting designer, Dave Shea. Image: Ruth Darling. Andy Arnold, artistic director of the Tron Theatre, ushers me out the fire escape and into the night. Meeting me is Edwin Morgan, whose portrait adorns the wall, bathed in gold light. His eyes are raised, quietly, softly, gently. Looking out, to the street, to the night, to Glasgow. What were those words? They slipped through my ears just before the door closed.
Review: Dot. Dot. Dot. at Royal Lyceum, Edinburgh (online)
Daniel Kitson’s Dot. Dot. Dot. Photo: Daniel Kitson. Over the last eight or nine months, I haven’t wanted to see any theatre. I’ve definitely not wanted to see any theatre about COVID. It felt too soon, or too close to the bone. Rationally, and to others, I argued that any theatre about what’s happening right now would be pointless, given that the experience of COVID is far from over. It would be like telling a story without an ending.
Review: Everton vs Aston Villa
Waiting for something to happen A weary grin follows his forced words, smiling white teeth to mask his tired eyes. It’s 0-0, it’s half-time and this game – the Sky Sports Main Event – is going nowhere. Against the blue-screened silver-walled spaceship interior of the studio, former club legends Dion Dublin (Aston Villa) and Tim Cahill (Everton) desperately vomit their punditry-fuel into the engines. Both teams are “waiting”, it’s “tense”, it’s like “a game of poker”.
Imaginary Review: The Best Show in Town
Glasgow is quiet, the evening is spring, and the shadows are long. I am pulling at the boundary of my half-hour heavy-stepped daily walk, waiting for my elasticated civic duty to snap me homewards. I loiter, guiltily, stood across the road from this building’s darkened windows. Up ahead, I hear footsteps echoing off the pavement. Unwilling to leave, I cross over. The Tron’s entrance is easy to miss, narrow and inobtrusive.
Review: This Thing of Darkness on BBC Radio 4
Artwork for ‘This Thing of Darkness’, which originally aired on BBC Radio 4 This Thing of Darkness is highly compelling and seriously distressing; it’s hard to keep listening and even harder to stop. It’s a radio drama split over seven episodes, each forty-five minutes in length, about the psychological impact of homicide on its victims and perpetrators. It’s a hard sell in these times of considerable darkness elsewhere, why on earth would you want to listen to that right now?
Review: MAIM at Tron Theatre, Glasgow
Alasdair C. Whyte in MAIM at Tron Theatre, Glasgow. Design, Kenneth MacLeòid; lighting design, Benny Goodman; video design, Lewis Den Hertog. Photo: Mihaela Bodlovic. MAIM means panic in Gàidhlig. This word can also mean “an outburst.” Theatre Gu Leòr’s collaboration with Gaelic electronica duo WHɎTE is both. Howls of grief interweave with the roars of activism to create a work which is thought-provoking and charged.
Review: Magic Theatre - [scenes from the unconscious] at CCA, Glasgow
Jian Yi in Magic Theatre at CCA, Glasgow. Design, Ruben San Roman; lighting and sound, Robbie Thomson; visual media, Dan Shay. Photo: Jassy Earl. Antonin Artaud’s ‘Theatre of Cruelty’, as outlined in his 1933 book of essays Theatre and its Double, called for theatre to break away from its traditionally western notions of narrative-led action.
Review: DADDERS at Dance International Glasgow
Dadders at Dance International Glasgow. Design, Hannah Clark; lighting design, Hansjorg Schmidt; costume maker, Charlotte Austen. Photo: Zoe Manders. A giant orange square with matching orange curtain. Six, maybe five, huge bouncing balls. Haze fuming from the ceiling and then there’s this conjoined … chicken … thing. Welcome to the “Meadowdrome”, the fantastic escapist world of Frauke Requardt & Daniel Oliver, brought back in time from a post-neurodivergent revolution family fun-time future.
Review: Crowd at Dance International Glasgow
Crowd at Tramway, Glasgow. Design, Gisèle Vienne; lighting design, Patrick Riou. Photo: Takuya Matsumi The main stage at Tramway is covered in soil. Emerging from the dark, a slow-moving body enters, followed by another, then another, and another. As the lights rise, a fifteen-strong party begins, performed entirely in slow-motion, under shifting lights and pulsing beats.
Review: GRIN at Dance International Glasgow
GRIN at Tramway, as part of Dance International Glasgow. Lighting design, Dav Bernard; costume design, Zephyr Lidell. Photo: Tiu Makkonen. This year Glasgow-based choreographer Mele Broomes returns to Dance International Glasgow, following the success of the award-winning VOID in 2017. Her new work, GRIN, is a wordless autobiography of Caribbean and African dance, with a mesmerising design and pulsating soundscore.
Review: Drone at the Tron, Glasgow
Harry Josephine Giles in Drone at the Tron Theatre. Visual design: Jamie Wardrop. She takes off while the audience are chattering, still taking their seats, unsighted. Gradually, as heads turn, a silence grows beneath a distant whirring. She is in the air, before us, green lights blinking. She hangs, potent, waits for our attention. The screen behind her glows green. We see ourselves, caught, on camera. We are being watched, as the blinking green strafes across the stage.
Review: Nora: A Doll's House at Tramway, Glasgow
Tim Barrow and Anna Russel-Martin in Nora: A Doll’s House at Tramway, Glasgow. Design, Tom Piper; lighting design Lee Curran. Photo: Mihaela Bodlovic. Henrik Ibsen’s A Doll’s Houseis often described as having “caused outrage” upon its premiere in 1879. The work earned its controversial status for its portrayal of Nora, who at the play’s climactic scene chooses to leave her marital home, husband and three young children in order to prioritise her own needs, wants and safety.
Review: Heart of Darkness at Tron Theatre, Glasgow
Heart of Darkness at Tron Theatre, Glasgow. Lighting design, Andrew Crofts; costume design, Laura Hopkins; video design, Simon Wainwright. Photo: Ed Waring. Fractured across a stage in a whir of microphones, cameras, props and screens, Imitating the Dog stage a beautifully cinematic, noir-esque, live graphic novel revisioning of Joseph Conrad’s 1899 novella, The Heart of Darkness.
Review: Mammy Goose at the Tron, Glasgow
Mammy Goose at Tron Theatre, Glasgow. Photo: John Johnston Mammy Goose, written by, directed by and starring Johnny McKnight, is this year’s panto at Tron Theatre. Revered among those looking for a slightly alternative panto to those offered by the city’s large-scale venues, McKnight’s pantos (playing both at the Tron Theatre and Stirling’s Macrobert Arts Centre) typically offer all the best traditions of pantomime – with a few subversions thrown in for good measure.
Review: Estonia Now Triple Bill at the Tramway, Glasgow
Imagine There’s a Fish at Tramway, Glasgow. Photo: Natalia Poniatowska Estonia Now is a festival of visual art, film, contemporary dance and performance, held in Glasgow throughout November to celebrate the Republic of Estonia’s 100th anniversary – which came into being after it claimed independence from the Russian Empire in 1918. The festival sits as a meeting point between Estonia and Scotland, between two different cultures, held within a wider political frame.
Review: Estonia Now Triple Bill at the Tramway, Glasgwow
Imagine There’s a Fish at Tramway, Glasgow. Photo: Natalia Poniatowska Estonia Now is a festival of visual art, film, contemporary dance and performance, held in Glasgow throughout November to celebrate the Republic of Estonia’s 100th anniversary – which came into being after it claimed independence from the Russian Empire in 1918. The festival sits as a meeting point between Estonia and Scotland, between two different cultures, held within a wider political frame.
Review: Gallanach at Tramway, Glasgow
A reference to the fragility of youth. A reference to bodies in change, between states. A reference to the unseen, a gesture to the assumed, a work about ability. Gallanach is a durational performance, created by Amy Rosa, that was presented as part of this year’s UNLIMITED festival at Glasgow’s Tramway. It is four hours in length, showing in Tramway Four, which I’ve typically seen as a studio theatre space.
Review: CONCERT at the Tramway, Glasgow
The Liffey Banks is a 1972 album from virtuoso traditional Irish fiddle player Tommie Potts. This album is the only commercial recording of his work to have been produced before he died in 1988. Within traditional Irish music circles Tommie Potts is an iconic musician, famed for his individual take on the Irish music tradition, which broke apart the form into irregular rhythms, deconstructed jumps and starts. An LP copy of The Liffey Banks sits on stage.
Visions of a new, exciting schoolboy football structure
For over one hundred years, the Inter-secondary Schools Sports Association (ISSA) has been a champion of Jamaica's sporting prowess. Providing competitive platforms for the emergence, identification and nurturing of the vast majority of the nation's top talents, certainly in track and field, football, netball, basketball and cricket. Through the years, ISSA has by and large proven itself to be dynamic, adaptable and a reliable ally to most sporting disciplines.
Lessons from the Beeching cuts in reviving Britain's railways
More than 50 years ago the Beeching Report was published, spelling the end of hundreds of miles of British railway lines and stations. Pretty much immediately, local campaigns sprang up to protest what became infamously known as the “Beeching Axe”. Now, the transport secretary Chris Grayling has announced that some of the lines could be re-opened. The proposals, aimed to “reverse decades of decline” in the railways, have been praised as the “rebirth of the railways”.
Review: The Body is a Sanctuary That Floats at Tramway, Glasgow - Exeunt Magazine
“In our opinion, Storyboard P is one of the greatest dancers on the planet.” The team behind this year’s episode of Arika – a three day festival of performance, readings and discussions spread across Glasgow’s Tramway, Kinning Park Complex and Many Studios – hold Storyboard P, an Afrofuturist dancing through his own “mutant” flex, in very high regard. Yet even this praise seems to fall short here. Storyboard isn’t dancing on this planet – instead he floats above it.
Review: Shorelines at Tramway, Glasgow - Exeunt Magazine
On the night of the January 31st, 1953, a storm beginning in the North Sea broke over the coasts of the Netherlands, England, Scotland and Belgium, claiming the lives of more than 2,500 people. Shorelines, an international collaboration between composer Oliver Coates, director Josh Armstrong and the Netherlands’ Ragazze Quartet, is a powerfully affective memorial to this event, as well as a wonderfully porous meditation on the lived experience of those whose lives are shaped by natural disasters.
Review: Infinite Lives at Tramway, Glasgow - Exeunt Magazine
What is consciousness? What is the self? Where else is consciousness found? Can we engineer new versions of it? These are questions that have long been a subject of inquiry, stitching themselves through the labours of artists, psychologists and – more latterly – neuroscientists. It’s a topic that spans both scientific discourse and pop-culture, from AI studies to the use of hallucinogenic drugs.
Review: AquaSonic at Tramway, Glasgow - Exeunt Magazine
“This work presents five performers who submerge themselves in glass tanks to play custom-made instruments and sing entirely underwater.” That’s a strong opening to a blurb, and this work – Between Music’s AquaSonic – is an equally strong way to open to this year’s Sonica, Cryptic’s 11-day biennial festival of visual sonic art in Glasgow.
Review: The Coolidge Effect at Tron Theatre, Glasgow - Exeunt Magazine
Devised from interviews with porn advocates, addicts, mental health experts and scientists, Wonder Fools’ The Coolidge Effect is a thoughtful and engaging piece of work about pornography use in the 21st century.
Review: Nomanslanding at Tramway, Glasgow - Exeunt Magazine
Sitting against the curve of the white walls, you can hear the whispers in your skeleton and the ground starts to shake. A crack growing in the wall, a bright light, the surface shifting beneath you, and the world divides, cleaves, splits. A gap stretches out between you and your neighbour and the bright light gives way to darkness, an absence and distance that grows. At the limits, at an edge, it halts, rests and the world re-joins, covers over, heals.
Review: Hidden Architectures at Dance International Glasgow - Exeunt Magazine
Hidden Architectures is, on the face of it, quite a simple piece of work. There are three pairs of performers connected mouth-to-mouth by a thin wire, and the vast majority of the performance is given to exploring how this effects their movement, their shuffling back and forth, their twisting left and right, their tangling and untangling, always connected to something, always anchored to the world.
Review: Velvet Petal at Dance International Glasgow - Exeunt Magazine
Velvet Petal is a work about change; about the moments when people, relationships and bodies choose to undergo transformations, to decidedly alter shape, to attempt to grow. Landing at Dance International Glasgow for its UK premiere following its debut at Mexico’s Festival International Cervantino, Dundee-based Scottish Dance Theatre’s new work is by turns beautiful and frustrating, but never seems to quite hold its beautiful images for long enough to allow a change to occur within its audience.
Review: SPOTTED at Dance International Glasgow - Exeunt Magazine
Overflowing, oversaturated, she takes the bottle of water and raises it to her mouth. Overflowing, oversaturated, stuck; she holds the bottle to her lips. Overflowing, oversaturated, full; she lowers the bottle to her waist. We wait. And we wait. And we feel pained. She raises the bottle again. She holds the bottle to her lips. She lowers the bottle to her waist. She raises the bottle again. And we feel pained. The water doesn’t move. And we feel pained, stomach churning, sitting silently, unable to move.
Review: material / rearranged / to / be at Dance International Glasgow - Exeunt Magazine
It is a choreographic task he calls “looping”. It’s a steady re-shaping, a movement that seems to originate in the feet and ends in the fingers. It is a choreographic task he calls “looping”. It’s a burrowing, it reminds me of those machines they used to dig the channel tunnel, it oscillates like water down a plug hole. It is a choreographic task he calls “looping”. It’s Matthais Sperling, white cotton top, black trousers and black sunglasses, working his way across the room.
Review: VOID at Dance International Glasgow - Exeunt Magazine
First commissioned by Tramway and performed in May 2016, Mele Broomes, Dav Bernard and Bex Anson’s JG Ballard inspired collaboration VOID is re-staged at this year’s Dance International Glasgow festival.
Review: Girl in the Machine at Traverse Theatre, Edinburgh - Exeunt Magazine
Stef Smith’s Girl in the Machine is an emotionally and intellectually intense two-hander about the shifting nature of our relationships to technology and human bodies. Working through an aesthetic and tone familiar to fans of Charlie Brooker’s Black Mirror, Girl in the Machine tells the story of Owen (Michael Dylan) and Polly (Rosalind Sydney), whose relationship disintegrates when Black Box, a headband that induces it’s wearer into a soma-esque state, arrives in their home.
Review: Discourse or Intercourse / Talking & Fucking at Take Me Somewhere, Glasgow - Exeunt Magazine
Following The Arches’ closure Jackie Wylie and Andy Field invited twenty artists to contribute radical ideas to a Glasgow Imaginary Festival. The festival was staged on billboards across Glasgow, performing within the gaps created between the artists’ imaginations and those of people walking through Glasgow’s streets.
Review: #negrophobia at Take Me Somewhere, Glasgow - Exeunt Magazine
Extraordinary in its range, excess and incision: Andrew Edwards reviews Jaamil Olawale Kosoko’s “challenging, necessary and entirely relevant” work as part of the Take Me Somewhere festival. “they’re my brother’s shoes” “they’re my brother’s shoes” “they’re my brother’s shoes” As we filter into the space the audience is divided into four. A large bank of audience sitting end-on to the performance space, and three pockets of audience sitting (and indeed sprawled) on stage.
Review: The End of Things at CCA, Glasgow - Exeunt Magazine
A suitcase wheeled from one side of a space to another. A body of water poured from one place to another. Bodies connecting in one place and coming to a rest somewhere different. Orgies climaxing towards silences. Balloons drifting upwards. White clothes gathering wear and tear, staining with dirt. This is The End of Things, a new work by Glasgow-based Company of Wolves that premiered at this year’s Manipulate Festival.
Review: A House In Asia at the Traverse Theatre, Edinburgh - Exeunt Magazine
It was a house in Abbottabad, Pakistan, and the site of Operation Neptune Spear. It was grey-to-white and white-to-grey in colour, and sat at a height of three stories in a 38,000-square-foot compound ringed with an 18-foot concrete wall. The walls were topped with barbed wire, there were not many windows and the grounds contained a well-kept vegetable garden. It was a house in North Carolina, United States, used to rehearse Operation Neptune Spear.
Review: Cities at Traverse Theatre, Edinburgh - Exeunt Magazine
An actor, a table, a camera. These are the building blocks of Cities, Quebecois company Théâtre De La Pire Espèce’s private collection of imaginary urban spaces, which were unveiled to UK audiences for the first time at Manipulate Festival 2017. Emphasising a low-tech aesthetic, Cities is an endlessly innovative and charming performance about the nature of collection, imagination and the values we ascribe to objects. Cities is presented with no easily identifiable narrative.
Review: Fisk at the Traverse Theatre, Edinburgh - Exeunt Magazine
Tortoise in a Nutshell’s development has been gradual, building year-on-year alongside deserved critical acclaim at the Edinburgh Fringe for works including The Last Miner (2010), Grit (2012) and Feral (2013). Six years ago they presented their first work at Manipulate 2011, and this year they return to open Manipulate 2017 on the main stage at the Traverse with Fisk, now occupying a position as one of Scotland’s most innovative and versatile visual theatre companies.
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