Genre: classical
Review: Sarah Ruhl Eurydice
Sam Chittenden coaxes provisional miracles from her cast and space. The medium’s playful, even fun. The message though is bleak; and love is still in the letting go.
Review: In Praise of Love
There’s every reason to see this rare gem, now added permanently to Rattigan’s finer plays.
Review: Sophocles Electra
The end is set. Conor Baum directs that ratcheting-up inexorably: never hurried, never static. The audience holds its breath. So will you. Outstanding.
Review: Helen Edmundson The Heresy of Love
A brave undertaking – typical of Gerry McCrudden and his teams - and a rare opportunity to see this superb, all-too-topical play.
Review: The Importance of Being Oscar
Alastair Whatley takes the joy of the sorrow, and makes it his own. Unmissable if you can squeeze in.
Review: Chekhov Three Sisters
There’s a rapt self-communing in this production of Three Sisters. A must-see, it glows long after you’ve left it.
Review: The Devil May Care
Do see this particularly for an outstanding performance from Burrows and an exceptionally fine one from Woodhouse. This adaptation remains an exhilarating reminder of what a difference a century makes.
Review: Treasure Island
First-rate youth theatre, creatives and cast excel: detailed, funny, not to be taken over-seriously, then quite a bit more so.
Review: Cat On a Hot Tin Roof
Frecknall has re-thought and refreshed one of the great, and classically-framed American dramas. And made it classic.
Review: Helen Edmundson (adaptor) Anna Karenina
With Diane Robinson’s team there’s a vibrant retelling, superbly produced
Review: Ballet Shoes
A paean to wonder and possibility, dreaming to some purpose. Like other winter growths, this should prove a hardy perennial, evergreen as the book.
Review: Happy Days
I’ve never seen a Winnie more ordinary, one without those strange transcendental inflections. Catherine Humphreys isn’t flat: she rises to anguish, though it’s one of realism. I’m still not quite sure what’s been removed. But I’m very glad I’ve seen it.
Review: Sara Farrington A Trojan Woman
An acclaimed pocket tragedy which yet carries Euripides’ weight in Farrington’s framing, it more than touches the heart: it snatches it and hands it back as a sad and angry consolation.
Review: The Silver Cord
A darkly thrilling masterpiece, given what might be its finest UK revival. All are outstanding and Alix Dunmore, and certainly Sophie Ward, should be up for some glittering prizes.
Review: Pride and Prejudice
An unalloyed delight, compressing the story but revealing things even those who know the novel will take back to it.
