★★★★☆ 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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★★★★☆ Performance maker Ellie Dubois takes us beyond the glitz and ‘good times’ of circus to show us the plain humanity behind the perseverance and pain behind the artistry – challenging, in particular, what we expect from female performers.
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★★★☆☆ The play consists of interlinked monologues by three generations of Irish women bound together not merely by the love found in familial ties, but also by hardship and fortune. This is not a dysfunctional family, quite the opposite, yet each woman faces challenging circumstances not entirely of their own making.
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★★★☆☆ Patrick Barlow’s play is about two actors and an opera singer attempting to re-enact a new adaption of the famous nativity. Misremembering lines and a myriad of cock-ups get in the way, in this rather farcical production. With a mixture of comedy and music, there is a balanced blend of entertainment . . .
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LA CENERENTOLA ★★★★☆
Rossini’s fabulous crescendos and Ferretti’s witty onomatopoeic texts were further amplified in this version of the age-old tale with Disneyesque colour from designer Joan Guillén that would not have looked out of place in Willy Wonka’s chocolate factory . . .
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LA CENERENTOLA ★★★★☆
Rossini’s fabulous crescendos and Ferretti’s witty onomatopoeic texts were further amplified in this version of the age-old tale with Disneyesque colour from designer Joan Guillén that would not have looked out of place in Willy Wonka’s chocolate factory . . .
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