★★★★★ As the poet considers the weight of every word so great acting considers each gesture and inflection. It operates in a realm beyond mere excellence, where it illuminates at the same time as exciting a delight for its own sake . . . If David Suchet is exceptional that is only because the level of everything else in the production is excellent.
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★★★★☆ Phyllis Logan gives a performance to rank alongside the best of the triumphs hosted by the Ustinov over the last few years . . .The play is a cage fight between morality and literature, the outcome of which is deliciously ambivalent. Switzerland, a place famed for its neutrality is thus an apt motif for a play about moral turpitude and its consequences for psychology and creativity.
Read More★★★★☆ Director Peter Stickney has served up perfect holiday fare; a joyful celebration of the Bard, intelligent without condescension, whilst unlocking some of those secrets and joys of Shakespeare production, which may get overlooked in more self-consciously ‘relevant’ interpretations.
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★★★★☆ The show, which is on tour from the West End, has no shortage of star talent to entertain us. Frances Barber is positively gleeful in her devious manipulation and blackmail of Sir Robert. Every swish of her costume, every pointed gesture, every hiss of defiance sets her out as a woman with an abundance of willpower, ambition and guile.
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Watching a Jackson video today we see that, like Fred Astaire from an earlier generation, dance is not something he does, it is more a mode of being. That is to say he did not dance to the music, rather the music used his body to manifest itself by other means . . . the songs are true perennials, which on last night’s showing, have lost none of their appeal
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