Category: 5 STAR

TOP HAT at the Bristol Hippodrome

“A large and appreciative first-night crowd clearly transported, rising as one to cheer a sparkling band of hoofers at Bristol’s Hippodrome theatre at the end of a Top Hat delivered with gusto, and no little wit. . . Irving Berlin’s classic musical still has the power to lift us up from the despond of austerity 80 years after its massive box office success in 1930s America. All the elements are there – celebrity, wealth, (discreet) sex, love and a happy ending . . . It’s a big hit, enjoy!”

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RSC’s HENRY IV Part 1 at the Theatre Royal, Bath

“Wearing a red cushion for a crown and looking not unlike a character out of Captain Pugwash, Antony Sher as Falstaff sits atop a wooden chair as makeshift throne. . . Gregory Doran’s sparkling direction is both inspired and thrilling. This is the RSC at its most dazzling. The speed and range of the proceedings are breathtaking . . . That [Falstaff] is an out and out rogue is never in doubt, yet it is he who delivers a withering account of the real meaning of honour. From deep within his corruption comes uncomfortable truth. Magnificent.”

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BALLET RAMBERT at Bath Theatre Royal

” . . . The Theatre Royal audience rose as one to acclaim the ensemble after a triumphant, exhilarating and sensitive performance to some of the Rolling Stones’ finest early works. In a last moment of silence, Cuban dancer Miguel Altunaga jutted his chin out in a gesture of male bravado and brought the house down . . . This was fabulous stuff, devoured by the audience who at once became animated, to some extent released from the more demanding abstractions that had preceded it . . . Sassy, sexy and strongly recommended.

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Simon Callow in THE MAN JESUS

“Mr Callow, to me, is very much an actor of the old school. I see him very much part of the tradition of Laurence Olivier, Ralph Richardson and John Gielgud. He has a certain style, a certain exaggerated panache and command of the stage that you don’t get very much nowadays. I hate to use clichés but Mr Callow really did bring Jesus to life as he told, in simple dramatic (rather than preachy) style, some of the great episodes from the gospels. . . This was a tour-de-force, a truly virtuoso performance . . “

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THE KITE RUNNER on tour

“…The staging of this production is spare, and wonderfully so. An empty stage with a vibrant backdrop of lights, paintings, and curtains changes each scene smoothly and with minimum clutter of props. At the front of the stage sits Hanif Khan, a musician who, with a series of hand-drums and other small instruments, conveys the tone and emotion of the play marvellously.”

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