Author: Mike Whitton

LADY ANNA: ALL AT SEA at Bath Theatre Royal

To commemorate Anthony Trollope’s 200th birthday, Craig Baxter was commissioned by the Trollope Society to write a dramatized version of Lady Anna. Seldom read today, this is a conventional Victorian tale of a young woman of noble birth who must choose either to be wedded off to a young earl who matches her in social status but whom she does not love, or to marry her childhood sweetheart, a poor tailor. . . a very inventive and often amusing way of breathing new life into an old story.

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THE DIARY OF A HOUNSLOW GIRL at Tobacco Factory Theatres, Bristol

This is a slickly choreographed and beautifully lit production. The set may be simple, but during the course of the show we discover that it has a number of tricks up its sleeve, as when we see Shahida’s video messages projected on the bedroom door. This is laugh out loud funny, poignant and thought-provoking by turns, and it fully engaged my interest.

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THE FLYING LOVERS OF VITEBSK at Bristol Old Vic

Kneehigh’s The Flying Lovers of Vitebsk is a portrait of Marc Chagall’s and Bella Rosenfeld’s marriage. It is a portrait as colourful, as quirky and as inventive as Chagall’s own paintings, and it has enormous charm. Writer Daniel Jamieson and director Emma Rice created their first version of this story over twenty years ago for Theatre Alibi. This new production marks the end of Rice’s long association with Kneehigh, as she has now moved to become Artistic Director for Shakespeare’s Globe.

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AFTER MISS JULIE on tour

Strindberg wanted to portray flesh and blood people with all the varied and unpredictable behaviors we see in real-life. He rejected the idea that characters should be representative of just one motivation, such as ‘fidelity’ or ‘revenge’. Consequently they are multi-layered and quixotic. Patrick Marber has stayed true to the spirit of Strindberg’s intentions, and both Miss Julie and John are written as complex characters driven by many different and often contradictory motives.

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SALVO-CONDUTO at the Redgrave Theatre, Bristol

. . . a man emerges wearing a motorcycle crash-helmet. He and the woman speak to each other in an animated, urgent fashion. I have absolutely no idea what they are saying, for they are talking in Portuguese. I hear some laughter from fellow members of the audience and I begin to suspect that I am the only person among the mere twenty or so in the auditorium who is not fluent in that language.

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