Author: Graham Wyles

DEATH OF A SALESMAN at Bath Theatre Royal

Last night we had a lesson in the value of an actor, that is, what an actor can bring to a script. Following the untimely death of Tim Pigott-Smith who was to play the lead role in Miller’s bitter bouquet to a lost way of life and filial love, Nicholas Woodeson has bravely stepped into the part with a mere two weeks to learn the lines. Unsurprisingly last night’s performance could only reach the heights of a well-rehearsed read-through with Mr Woodeson understandably some way from being ‘off book’.

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MEDEA at Bristol Old Vic

★★★☆☆ Writer, Chino Odimba’s BC/AD mash is a very Euripidean project of reimagining characters from traditional myth as contemporaries, with all the psychological nuance that we might now expect. So a modern tale of marital infidelity and familial breakup is superimposed on Euripides’ original with Medea becoming a present day Maddy . . . this is a novel reworking of a much interpreted classic which has enable the Old Vic to present some noteworthy talent.

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Joseph and the Amazing Technicolor Dreamcoat at Bristol Hippodrome

★★★☆☆ The Rice/Lloyd Webber illustrated bible story is nearly fifty years old. The novelty and frisson of setting holy writ to a popular music score and having some irreverent fun with the characters of the story may seem tame by today’s trenchantly secular standards . . . It’s a thoroughly enjoyable family show, which continues to showcase some impressive emerging talent.

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LORD OF THE DANCE: Dangerous Games at Bristol Hippodrome

★★★★☆ To see a revered and ancient tradition bursting, refreshed and unapologetic into the present day is something to behold. Riverdance, the interval entertainment at the 1994 Eurovision Song Contest in Eire, was in that respect phenomenal. The subsequent show, which was an expanded version of that seven minute piece, was a phenomenon, touring the world and breaking records as it went.

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THE MIKADO at the Theatre Royal, Bath

★★★★☆ In Sasha Regan’s production, W S Gilbert’s story is told as a kind of midsummer night’s dream of a boy scout’s camp concert party in which all characters are played by young men in shorts (the women’s parts with their shorts rolled up) . . . This is as imaginative, clever, witty and unstuffy a production of Gilbert and Sullivan as you are likely to find and may be just the thing to tempt people who think comic opera is not for them.

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