PARADISE LOST at the North Wall, Oxford

Consider the one-man show. What do you expect? A stand-up comedian, entertaining the audience with something funny that happened to him on the way to the theatre? A furrowed-browed actor delivering an intense emotional monologue? An interpretive-dance adaptation of a 350-year-old epic poem, featuring an almighty battle between all the angels of Heaven and Hell, the Creation of the world, and the Fall of Adam and Eve? . . . Sublime, ridiculous, hilarious, and devastating.

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HAPPY HOUR at the Brewery, Bristol

The Tobacco Factory has set the bar high for new works. This collaboration between director Gethin Evans and writer Anita Vettese is an exciting one – I’m already looking forward to their next production. This is Anita Vettesse’s first play after a 20-year career as an actor, and Gethin’s first production as Associate Director of Sherman Cymru.. . . . Happy Hour is a fast-paced miniature masterpiece. It is skilfully written and perfectly executed. Anita Vettesse is a bright new talent to take note of, with a well-tuned eye and ear for human detail. Strongly recommended.

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THE ONE THAT GOT AWAY at the Ustinov Studio, Bath

One of the notable things about Feydeau was his ability to spin a piece of fluff into a complete suit of clothes. His art is to set up a ridiculously flimsy premise by way of a plot, which then develops its own logic in which the characters are caught up with apparently no means of escape. His is a world of entitlement and ease flavoured, in some quarters, with a certain license occasioned by the Enlightenment and the subsequent loosening of the grip of the Catholic church over the minds and morals of the middle and upper classes.

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AN INSPECTOR CALLS at the Theatre Royal, Bath

J B Priestley’s classic polemic is very much in step with Jeremy Corbyn’s recent social inequality cris de coeur. The production is clearly in danger of being closed down any minute by the Ministry of Information! As Inspector Goole stepped forward to entreat us with his sermon of a caring society, I fully expected George Osborne’s thought police to storm the building, arrest the cast and put the audience on advanced surveillance.

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HANDBAGGED on tour

This was a case of an unstoppable force meeting an immovable object. Each woman was confident in her position and status, arrogant even, and neither would yield to the other. Was this all about the long established British monarchy and the new political kid on the block – or was it just an excuse, a vehicle for a good comedy? The latter I suspect. Although the play took us chronologically through those eleven years touching on all the major incidents, the piece never let a fact get in the way of a good laugh.

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MEN IN THE CITIES at the Tobacco Factory, Bristol

Chris Goode and Company’s avowed intent ‘is to make space for unheard voices’ and ‘to think out loud about who we all are in the hope we might catch a glimpse of how we might live better together’ . . . It is forthright in its graphic depictions of gay sex and certainly provocative in its use of the murder of Lee Rigby as a metaphor for a society full of alienated, angry, lost men. But Goode’s negativity is so relentless and all-embracing than one becomes weary of struggling to find a meaning in the darkness.

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