★★★★☆ The plot follows the trajectory of the musicians as they form/dissolve one group after another – The Varietones, The Four Lovers – before they eventually, with the addition of the extremely talented songwriter/keyboardist, Bob Gaudio, adopt the name of the bowling alley they fail an audition in.
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★★★★☆ Lovingly adapted for the stage by Bryony Lavery, this is an exceptional production that is masterfully crafted in so many ways. The set it unnerving and wildly versatile, taking full advantage of levels and the bareness of the stage.
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★★★☆☆ Sitting behind an office desk and armed only with a mike and a laptop that he accesses for background musical effects, Dale-Jones nostalgically takes us back to when his dad proudly shows him the Royal Worcester porcelain figure he keeps in a box under his bed – the Duke of Wellington on horseback.
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★★★★☆ Poe’s story is of a man entrapped in a dark cell by his enemies. Tormented by the complete blackness of the cell, he decides to measure it out in paces to allow him some knowledge of his surroundings.
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★★★★☆ Shakespeare’s allegedly problem play bursts onstage to a thunderous clap of percussion. Literally. Two motor-cyclists roar out of a large box into leather clad world of Greeks and Trojans, made ever urgent and eerie by percussionist Evelyn Glennie’s score.
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★★★★☆ With its original and creative staging and fast-paced format, this is exactly the kind of theatre that should feature in this country. Despite no audible words being uttered, every character is distinct, with actors multi-rolling moment to moment. The story may jump about, but each scene is self-contained and shows us snapshots of this vibrant but unsettling dystopia,
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