” . . The contributions of the supporting players here are outstanding. Mei Mac is the most consistently comic performer. She and Mike Goodenough have wonderful synergy in their performances as Corgi and Queen . . , There is an honesty in its intent that is very easy to appreciate A problem arose with two odd jokes in its second half—whether they were offensive, or “politically incorrect,” or simply poorly delivered, I do not know—but the team may do well to avoid such material as it can make the show seem dated.”

“. . . The story follows Frederic Henry (Jude Monk McGowan) and his time fighting as an American soldier in the Italian army including and eventually limited to his relationship with English nurse Catherine Barkley (Laura Atherton) . . . Atherton’s performance is one that confounds me still, even on reflection. Is it some kind of surreptitious genius? Is she supposed to be so annoying? Is it a commentary on women, whether of the period or through Hemingway’s eyes? I would argue not, but its imbalanced nature lends itself to readings of the play (and the novel) as one that is as variegated as its audience . . . “

“Frantic Assembly’s modern take on Shakespeare’s Othello is not your everyday Shakespeare production. It is a re-imagining of the famous tale on quite a large scheme: it is striking, especially physically as you would expect from this company . . . The story is brought up to date and set in a pub, complete with chavs in tracksuits, a pool table and gang warfare. . . Steven Miller gives the stand-out performance of the evening; he speaks the text as if it is his natural tongue.”

“. . . The second act is pitched far more cutely, buoyed by the tremendous performance of Paul Curievici as the ridiculous Titorelli. His comedy is apparent, his grin is wide, yet there is a penumbral source of consternation, a creeping dread. The mercurial quality that the production is attempting to achieve seems most concrete in Curievici’s performance, as opposed to the broad strokes of Bennett and Folwell . . . It is an enjoyable, perverse and kinetic production, one held back by its unwillingness to be more perverse.”

” Drawn from King Lear and his own autobiography, it explores Edward Petherbridge’s life before, and after, the stroke he suffered in 2007 that meant he had to withdraw from playing the iconic Lear . . . The surreal action, with its underlying truth, makes for a compelling performance . . . My Perfect Mind is a gracefully honest, whimsical portrayal of a difficult time in Petherbridge’s life. It is a piece of devised theatre – clever and courageous theatre which sheds light on his recovery from a potentially life destroying condition.. . .”