Author: Mike Whitton

Brian Friel’s LIVING QUARTERS at the Tobacco Factory, Bristol

Living Quarters may not be one of Friel’s greatest plays; it lacks the originality and sustained power of Dancing At Lughnasa or Translations. Nevertheless it has much to offer, and it is hard to imagine it being performed better. This is an excellent production of a play that speaks of some universal truths about the choices we make in our lives. It is also a play rooted in Ireland – a country that, more than most, seems unable to escape from the clutches of its own past. Highly recommended.

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LIFE RAFT at the Bristol Old Vic

Life Raft is undeniably bleak, and at times all seems futile: ‘Let’s row’- ‘Where to?’- ‘To the end.’ There is cynicism, too, as when democracy is dismissed as a system where ‘even idiots get the vote’. But we also see signs of hope for humanity. A key turning point in the play occurs when, driven by superstition, the children decide that their troubles are rooted in the fact that there are thirteen of them. What follows is a kind of dreadful balloon debate, when each of them is urged to justify his or her survival and nominate someone who should not be spared . . . Bleak, yes, but very powerful.

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Mrs Shakespeare at the Alma, Bristol

Kelleher energetically conjures up the many voices that invade the woman’s thoughts as she struggles to rewrite Hamlet. There’s a grandly orotund Polonius, an East End Jack-the-lad Claudius, a cackling skull-tossing gravedigger and the ‘poncey privileged Prince’ himself. She plays these parts in an appropriately crazed, unrestrained manner, though she lowers the volume and conveys a moving vulnerability as Ophelia, ‘weeping in her saturated gown’.

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THE BOY ON THE SWING at the Tobacco Factory

” . . . is the fourth and final production of this year’s Directors’ Cuts season from the Bristol Old Vic Theatre School . . . Harry Egan is wonderfully weird as receptionist Jim, and Karl Wilson delivers Donald’s sales patter with a powerful mix of warmth and menace. Most impressive of all is Dominic Allen as the dangerously unpredictable William. Director Laura Jasper has created a fast-moving, energetic production, and her actors do her proud. The 2015 Directors’ Cuts season has yet again shown that year on year the BOVTS produces graduates of the very highest quality.”

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THE CAR MAN at Bristol Hippodrome

” . . . Since its first performances in 2000 The Car Man has become justly famous for its energetic and unrestrained sexuality, but there are also quieter and subtler scenes of tenderness and poignancy, particularly between Rita and Angelo, that are among the most memorable moments in the show. Katy Lowenhoff gives Rita a touching vulnerability, while Dominic North skillfully conveys Angelo’s transition from hapless victim to grim avenger. . . The Car Man is brilliant dance-theatre. ”

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