★★★★☆ Khan understands the power of a good silence better than almost any comedian I’ve seen. He holds every joke for what seems like a beat too long, except it is absolutely perfect timing, as his facial expressions in these moments have the audience in stitches.
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★★★★☆ The show opens in a grim girls’ orphanage. The walls tower up into darkness, and huge doors and tall lamps accentuate the tininess of the occupants, lying on their starkly function beds. The laundry boy tells them that they get ‘clean sheets once a month, whether they need them or not’. Everything is bathed in a blue-green, sepulchral light.
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★★★★☆ It is somewhat redundant to extoll the virtues of The Mousetrap as a murder mystery play at this point. Aside from being one of many feathers in the cap of the country’s most prolific crime writer, it has been an ever-present staple of the stage since it was first produced.
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★★★★☆ With props and costumes from the dressing up box in mummy’s bedroom and the cupboard under the sink they deliver unbridled theatre-making with a determination to have a good time in the process. Their own delight rubs off on the audience.
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★★★★☆ It would be easy to read the play as merely a critique of the South African apartheid regime, but that comfortable option would be to overlook the ever-present dangers that seep out with depressing regularity from the dung pit of far right factions
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★★★★★ There is far more to Bourne’s Swan Lake than mere gender-juggling. In many ways, a more interesting aspect of Bourne’s achievement is that he has taken the central idea of the story back to its dark, mythic origins.
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