We all love a conspiracy theory and Richard Derrington’s one-man-show is fascinating stuff, beautifully written and impeccably presented . . . in My Kingdom for a Horse there is never a dull moment as we are swept through the, albeit imaginary, pages of some of England’s bloodiest history.
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The mostly female, near capacity enthusiastic house last night for BalletBoyz confirmed the proposition that quality will out. On paper, the idea of an all-male ballet company doesn’t, or at least didn’t, seem very attractive – ballet without tutus, white tights and hair in a bun was not something that was going to have mass appeal . . . Their work is original, creative and imaginative and above all, cultured and immaculately executed. I find it impossible to fault BalletBoyz – I love ‘em.
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In theory, E Nesbit’s classic story has all the ingredients and potential for a very successful stage show. There are endearing characters, nice locations and the opportunity for some amazing special effect and there is even an ending weepy enough to ensure a lot of damp hankies . . . Talking Scarlet has produced an ambitious musical adaptation which just scrapes by, but only by the skin of its teeth . . .
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The bath, which dominates the stage, is used to good effect, being able to spawn and conceal figures from Grant’s damaged mind like a clever magician. The bath (a means of self-cleansing, geddit?) is, wouldn’t you just know it, blocked. Despite numerous entreaties by Penny and the liberal use of a plunger, it remains so until the end . . . Theatre Témoin is an original and innovative young company whose heart is undoubtedly in the right place . . .
Read MoreThe Father is a play of outstanding quality the like of which you will rarely see. From this review it sounds heavy going, but it certainly is not. One is entertained, enthralled and involved. The ninety minutes, without interval, flash by in an instant leaving a certain emptiness but most of all, admiration.
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