Author: Simon Bishop

THE SCHOOL FOR SCANDAL at the Tobacco Factory, Bristol

” . . . I’d challenge anyone to find a better rendering of Sheridan’s wonderfully witty exposé of deceit and defamation than this one. Every player owned his or her part – and all produced sharp and always tremendously funny performances. The Tobacco Factory space works so well for pieces like this – whispers can be heard, a raised eyebrow noticed and a glum face can fill the room. . . This is the SATTF in top form, don’t miss it.”

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WNO’s THE MAGIC FLUTE at Bristol Hippodrome

Welsh National Opera’s production of Mozart’s THE MAGIC FLUTE has been given a surrealistic dressing. It begins with Tamino being pursued by a giant Dali-esque lobster. And his travails to win the right to love the Queen of the Night’s daughter Pamina are played out in a Magritte-like tableau of doors set into walls painted to look like sky. The stage is raised to allow some extraordinary scenes later when the Sorastro ‘brotherhood’ is visible only by dint of their heads protruding up through the elevated boards wearing bright orange Magritte-inspired bowler hats.

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WHISKEY CHARLIE at the Café Kino, Bristol

“Whiskey Charlie is the debut work of playwright Chris White. If this piece is anything to go by we should be on the lookout for more from this emerging talent. With director Jess Clough-MacRae, the pair forms HippoCrypt Theatre Co. . . The cosy basement of vegan restaurant Café Kino on the buzzy strip that is Stokes Croft in Bristol is a perfect place to test run new works, the space comparing very favourably with Bristol’s other two small theatres, the Alma and the Wardrobe . . .”

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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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