“…The performances are excellent, pitched at just the right level to engage first-time theatre-goers. I greatly enjoyed Roddy Peters’ energetic portrayal of King Minos, full of rage, spite and vengefulness. Malcolm Hamilton is a convincingly compromised, wavering King Aegeus; and Jack Holden in contrast is suitably noble and brave as his young son Theseus…”
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Propeller’s visit to the Everyman certainly started with a bang. THE COMEDY OF ERRORS is perhaps one of Shakespeare’s most farcical plays – or at least has the potential for farcical presentation. Edward Hall and his company took no prisoners with their production which was the proverbial helter-skelter, roller-coaster, non-stop, breathtaking ride with, it must be said, elements of pantomime.
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“…Roxana Silbert’s astonishing production had echoes of Peter Brook. The set was very symmetrical, very angular, very scientific … But, of course, it was Ian McDiarmid’s show. He shone as bright as any of the stars he gazed at. His Galileo was mischievous, enthusiastic, eccentric and likeable…”
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“…Apart from Matchmaker, it is difficult to pick out any high-spots. Fiddler on the Roof is just one high-spot after another. Because of the tableaux nature of the piece each song is a large production number which manages to be breathtakingly spectacular and moves the story along…”
Read MoreLieutenant Stephen Wraysford arrives at the front already bitter and scarred by a doomed love affair and, needless to say, things get a lot worse. Initially he lacks the empathy and understanding needed to fulfill his role leading his motley troop of tommies. He lacks compassion and resents the skylark’s happy song and carefree flight because, he claims, it doesn’t care. But as he is aware, what good is caring when everything you care about is taken from you.
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