★★★★☆ In a setting as intimate as the Tobacco Factory provides, the role of the director in an opera becomes arguably, more critical. In what amounts to a thrust (or three quarters round) stage there is no hiding place for the performers; voice alone will not do and acting skills must be up to snuff.
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★★★☆☆ The play starts with a double dose of fiction – a fiction within a fiction; a fictional couple conjured up by a fictional writer whose fictional wife plays the fictional wife of…well you get the idea. All the signposts tell us we are in Stoppard territory. . . This is vintage Stoppard with all the trademark wordplay, philosophising, clever plotting and complex characters.
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★★☆☆☆ The nub of the thing is The Man’s (Jack Hammett) relationship with a sequence of women, each of whom has been brought to the retreat for the purposes of seduction and who in turn are annoyed to find evidence of the others – namely a drawing of a woman in a red dress.
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★★★★☆ This is, by any measure, an intelligent, satisfying and enjoyable reworking of Pinter. Pinter without the ‘esque’ perhaps, yet in Mr Naiambana one in which the portrayal of an iconic character will stand as measure for those that follow.
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★★★★☆ Boiler suited and ‘up for it’ the team of four cleaners from Sparkle and Shine find themselves obliged to take a leading part in the greatest heist of the twentieth century having innocently gone to a remote farmhouse to clean up after the real crooks, post robbery.
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