The Underground Man at the Everyman Studio, Cheltenham

The eccentric English aristocrat has become almost a cliché. We seem to expect, hope even, that our hereditary lords and masters are a bit barmy. Too much money, too much time on their hands, a lifetime of being indulged – not to mention the occasional bout of inbreeding – can result in the mind being seriously disturbed. While Downton Abbey depicts the acceptable, sensible side of the aristocracy, The Underground Man gives us an insight into the looney side.

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THE WEIR at the Tobacco Factory Theatres, Bristol

This is refined writing that elevates prose to its full height and where the play as a whole, is a kind of poetry. This is theatre, not quite as stark as say, Godot, but reduced nonetheless to its essential elements of storytelling in a darkened room. In a way the star of the show is the craic, where language is played like an instrument of infinite notes. On the face of it The Weir is a mere collection of oft-repeated ghost stories, but the whole is far greater than the sum of its parts.

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RAMBERT Triple Bill at Bath Theatre Royal

You have to hand it to Rambert. For this, their 90th anniversary season, the company hasn’t flinched from producing challenging, sometimes esoteric works, including an ambitious reinterpretation of Macbeth on a split stage. As well as Rambert’s young, fabulously athletic dancers, with eye-catching dynamism from Miguel Altunaga, Hannah Rudd and Vanessa Kang in particular, the three pieces tonight were blessed with innovative scores and sets, not to mention some minimalist but extremely stylish costumes . . .

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SWAN LAKE at the Everyman Theatre, Cheltenham

The visit of the Russian State Ballet and Opera House to the Everyman has become a regular autumn fixture and judging by last night’s full-house for Swan Lake, one which ballet lovers in Cheltenham have come to eagerly anticipate. Producer Alexej Ignatow of Amande Concerts is dedicated to bringing top quality provincial Russian companies to the UK and making classical ballet available to the often dance-starved provinces here.

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BILLY ELLIOT – THE MUSICAL at the Bristol Hippodrome

This show falls in a tradition of emotionally powerful, thematically northern based, working-class stories that deliver more than they seem to offer. A little lad struggles to overcome the deep-seated prejudices of his coal mining community to get himself accepted as a dancer . . . everything a good musical should be: it has something to say and does it whilst moving us with the human struggle to be oneself against all the odds.

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THE EXORCIST at Birmingham Rep

The production does not shy away from allusions, overtones, and indeed explicit realisations of the perverse violations that face (and may have previously faced) Regan. Claire Louise Connolly inhabits the character well, her few scenes before the possession giving Regan dimensionality. She seems like a child who is mature for her age, but never an adult playing a child . . . Its subject material is bleak and complex, and it cleverly leans into that, rather than away from it.

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