Author: Sam Chipman

KING CHARLES III on tour

The Queen is dead: after a lifetime of waiting, Prince Charles ascends the throne – a future of power. But how to rule? Should a monarch’s power be merely ceremonial, or should they use the power bestowed upon them by their birth to act on matters of conscience? . . .A unique play with a bold vision, it is refreshing to see such themes explored in modern theatre . . . Fantastical? Yes – but once you’ve jumped the hurdle of unlikely events, it makes for fascinating and compelling theatre.

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THE PYRAMID TEXTS at the Door, Birmingham Rep

” . . . Alone in a boxing gym, with a video camera, there is one last thing that Ray has to do. Recording the lessons learned from a lifetime in the ring, he is forced to lower his guard and face the consequences of feelings buried for years beneath his hardened exterior . . . Christopher Fairbank does a splendid job of letting us in, despite the obvious challenges the piece burdens him with. His performance is dynamic and full of energy, his physicality gives a real sense of a proud ex-boxing champion . . . ”

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THE RISE AND FALL OF LITTLE VOICE at Birmingham Rep

The performance of Nancy Sullivan as Little Voice, is worth the price of the ticket alone – she’s spectacular. An endearing, movingly powerful performance in a role that suited her down to her boots. A part with very little lines, she ensures there is a real openness to the audience, and lets us in to the mind of the reclusive character. Her versatile voice shines: with her rendition of Somewhere Over the Rainbow you could almost be mistaken for listening to Just Garland herself.

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BACK DOWN at the Door, Birmingham Rep

“. . . The boys all perform well and have a great rapport between them thus making the friendship believable. Waleed Akhtar gives the best performance, you can sense the ambition that is harboured inside waiting to rise, Lawrence Walker ably portrays the sensitivity of someone who is love-struck and missing his other half and Sam Cole creates a cheeky character that is easily recognisable; however his use of gestures are a little too animated at times to sit comfortably. . . “

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THE KING’S SPEECH on tour

” . . . Roxana Silbert’s direction is sharp and crystal clear, allowing for a very smooth feel to the production. She captures the essence of the period, as well as the pressure upon Bertie’s shoulders, magnificently. From the start the scene is well set, with Bertie being dressed by two footmen, whilst a maid provides tea and toast. The two hours in the auditorium seems to fly by before you are routing for the new king at the finale. Not a sound is heard in the audience, such is the suspension of disbelief, and the piece comes to a satisfying climax. . . “

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