★★★★☆ Tennessee Williams’ play concerns those subterranean currents of sex and class, which however Americans might protest to the contrary, runs through American society as much as British. Where D.H.Lawrence might find an accommodation between the two, Williams gives us conquest.
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★★★☆☆ When you have a couple of top drawer actresses each capable of playing either lead in such a play as this the opportunity arises for the added novelty of spinning a coin to decide which of the two will play which role on the night. Last night Lia Williams was Mary and Juliet Stephenson, Elizabeth.
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★★★☆☆ Written early in Granville Barker’s career at the turn of the last century and only recently rediscovered amongst his papers, this is a play that feminists could happily put on the shelf marked, ‘On the side of the angels’. It explores a woman’s search for autonomy and fulfilment. Agnes Colander is an artist trying to escape ‘the loneliness of marriage’.
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★★★☆☆ Jonathan O’Boyle’s panelled set with the great face of Big Ben looming behind sets us firmly in Westminster, whilst the on-stage band locate us in time with songs from the period. All that was missing was any reference to the overt misogyny and bullying that has emerged being no less of an institution in the Mother of Parliaments.
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★★★★★ In a play that fastidiously avoids any hierarchical bias of interest as far as ‘star’ parts are concerned, Kirsty Bushell, has nevertheless produced a lambent Ranyevskaya. Animated in her indolence and with an engaging osculatory incontinence, she has produced a character mesmerized, by the headlights of her own looming destruction, into a crippling inertia
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