Author: Simon Bishop

THE ABSENCE OF WAR on tour

” . . . Set in 1992, this is David Hare’s third play in a trilogy that combined with Racing Demon and Murmuring Judges as the vehicle with which he examined British society at the end of the 20th century. With exquisite timing before the looming general election, director Jeremy Herrin has resurrected this dissection of the Labour party’s soul . . . This is a production at the top of its game. For those on the left, the play gives clarity to the strictures the political game imposes upon its protagonists . . . Highly recommended.”

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THE HARVEST at the Ustinov Studio, Bath

” . . . Like the Emperor’s New Clothes, Pavel’s play is, on the surface, see-through simple. Apples are picked and attempts are made to put them in crates for an hour. That we come out debating references to the disaster of nearby Chernobyl, the tightening influence of Russian power, and the destruction of an agricultural idyll, is testament to the way this Russian ‘New Drama’ can by suggestion alone make us work harder as an audience, and at the same time avoids dumping its writers in jail or worse.”

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OH WHAT A LOVELY WAR on Tour

“Back in 1963 what were we doing? Basking on our sofas watching Lassie and the Dick van Dyke Show? Listening to Peter Paul and Mary sing Puff the Magic Dragon perhaps? The scary days of nuclear profusion were still with us, but we had reached a watershed moment when the idealism of the 1960s finally dawned and we could embrace the idea of Peace as an end in itself. While the atomic bomb and the Iron Curtain still loomed, a new un-conscripted generation demanded and expected new social freedoms. The idea of war in itself finally seemed absurd. . . . ”

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Daphne du Maurier’s REBECCA at the Theatre Royal Bath

” . . . Kneehigh brought trademark sideshow moments to the production. Throughout, moods were heightened by some lovely playing on violin, xylophone, mandolin, accordion and double bass, and there were full-throated Cornish sea shanties that gave roots to the drama – After the Soul is Gone, and Hang Boys, Hang interrupting the gloominess of the plot. There was puppetry too, notably Jasper the dog, and a hilarious ‘scratch’- style Charleston danced by the full cast. . . “

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WICKED at the Bristol Hippodrome

“. . . The two female leads circle and play off each other throughout, unknowingly becoming crucial influences on each other while an unlikely friendship brews between them. . . The staging of the action was wonderfully realised with a mesmerising set that morphed from twirling cog wheels to portcullis bars; time pieces gave way to an extraordinary mechanised Wizard; changing skyscapes dissolved to the green green shininess of Oz . . .”

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