★★★☆☆ The fantastical, whimsical device of a magical piano that makes all who hear it start to dance has no small element of a fairy story, but without the darker tones of, say, Hans Anderson’s, The Red Shoes. Today we can only marvel at the success such a piece of silliness had on its first outing in the early 1950’s.
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★★★★★ The play is set in the artist, Lucian Freud’s, studio. At one point he refers to his great grandfather as being ‘the elephant in the room’, but for us in the audience that role is taken by the invisible, naked sitter, his interlocutor who he cajoles, bullies, charms, threatens and seduces to his will . . . Mr Goodman has produced an exceptional, complete, varied and nuanced performance that is the match for any artistic endeavour in any medium.
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★★★★☆ The show makes no bones about its cinematic origins; indeed it wears them on its sleeve . . . It’s all done with a brio and wit that sets the tone for the whole show. There is even a cameo walk-on of a Hitchcock lookalike during some toing and froing . . .
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★★★★☆ John Betjeman was the nation’s favourite poet. Hugh Whitemore’s Sand in the Sandwiches celebrates the famous man’s life and work starring Edward Fox. Graham Wyles takes a sideways look at the play.
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★★★★★ It is a remarkably selfless and accomplished piece of work on the theme of loss and loneliness, which reaffirms our faith in the power of storytelling using little but highly developed talent in a darkened room with a receptive audience.
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