Director Andrew Hilton has conjured a scintillating interpretation of this tragi-comedy, with individual performances lighting up another fine night at the Tobacco Factory . . . This Shakespeare at the Tobacco Factory production of All’s Well That Ends Well was just that, a terrific performance cheered at its conclusion by an enthusiastic full house. Strongly recommended.
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On a page on her agent’s website, Sophie Melville is described as “highly skilled” in body popping and hip hop dancing and maybe that is why her incredible single-handed performance as Effie in this play is so physical, direct and powerful. This physicality and also the direct fashion in which she confronts the audience makes us firstly feel uncomfortable, and then gradually draws us in to her compelling and touching story.On a page on her agent’s website,
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If you liked the film you’ll like the show, which gives you all the extra pizazz that only live theatre can deliver, and if you love ABBA it’s a must. Sentimental without being maudlin, great fun whilst keeping a sense of purpose, atmospheric lighting and bright costumes and with an uncluttered yet evocative set – everything conspires to make this great entertainment with a score few other recent musicals can match.
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If you were wondering whether or not to see Tusk Tusk at The Alma but were hesitant about doing so because it is about children, be reassured. Yes, it features very young actors in all of its main roles, but it is very far from being a ‘children’s play’. Polly Stenham has written an unflinching examination of middle-class domestic dysfunction and parental neglect. She lays bare the emotional chaos that can churn away hidden in leafy suburbia, and no Mary Poppins comes to rescue these children. She lays bare the emotional chaos that can churn away hidden in leafy suburbia . . .
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O’Neill’s chunk of raw biography is human tragedy in which the domestic is elevated to a peak of grandeur. The playwright has publicly disembowelled himself and presented the heaving, diseased and suppurating offal for the world to see. Small wonder he didn’t want it produced during his lifetime. The term ‘dysfunctional home life’ hardly does credit to what is more like an arena in which competing personalities clash in an endless round of recrimination and guilt.
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There is no one better to explore and reveal the foibles and functions of British society than Alan Bennett. His two plays, An Englishman Abroad and A Question of Attribution, performed together as Single Spies, give us an insight into the murky world of espionage but, more importantly, reveal an awful lot more about our society . . . While this is Bennett not perhaps as his absolute best, the two plays making up Single Spies are both typical and full of the wit and insight one rightly expects . . .
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