LITTLE ONE at the Brewery, Bristol

“Directors’ Cuts is an annual season of contemporary theatre presented by the four graduating directors from the Bristol Old Vic Theatre School. Returning to the Brewery Theatre for the second time, and with all four plays directed by women, the season opens with Little One . . . This two-hander is a powerful and unsettling psychological thriller about two adopted children raised by desperately well-meaning parents in a quiet and very respectable suburb in Ottawa . . . This is a gripping production that gets this year’s Directors’ Cuts season off to a flying start. “

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MEASURE FOR MEASURE at the Oxford Playhouse

“What happens when one man holds absolute power over a state? And if this man abuses his power, where do his innocent victims go for help? . . . Delivered at a rapid pace, it’s impossible to keep up with every word, but the main thrust of each scene is never lost, and it’s a treat to watch the Pushkin Theatre at work. An excellent contemporary examination of the corrupting force of power.”

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BIRDSONG at the Bristol Old Vic

“The play, which in Rachel Wagstaff’s adaption necessarily contracts much of Faulks’s novel, concerns in no small part the lives of the sappers and in particular one Jack Firebrace . . . the brave and steadfast miner is played with sensitivity, dignity and authority by Peter Duncan who effects an unsentimental pathos in the role . . . The production remains a powerful testimony to one of the darkest periods in European history. Last night’s audience were treated to a cameo performance by the author who came on to read some battle orders. Clearly enjoying the experience he waved his cap as he left the stage after the curtain call. ”

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THE PRODUCERS at the Bristol Hippodrome

“. . . This production is peppered with some titanic performances, notably Cory English’s full-on portrayal of the deeply amoral producer Max Bialystock and David Bedella’s splendidly vain Roger de Bris. Phill Jupitus’s very solid pigeon-fancying old ‘Jerry’ Franz Liebkind got some belly laughs as did Louie Spence’s ultimately camp Carmen Ghia, while the very leggy Tiffany Graves’ Ulla impressed with high kicks and splits . . . Cory English literally physically threw himself into this performance as Max. If he had any gaskets left to blow at the end of the night I’d be surprised and impressed. . . “

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THE PIRATES OF PENZANCE at Theatre Royal Bath

” . . . Only the most hidebound traditionalists would mourn the absence of females in the cast, so convincing is this version. I found it quite revelatory . . . this is undoubtedly a hugely enjoyable show, for having an all-male cast has created new opportunities for comedy that are exploited to the full. This production is as much comic ballet as comic operetta, and Lizzi Gee’s highly inventive choreography is often hysterically funny. Not for purists perhaps, but this is a wonderfully fresh take on The Pirates of Penzance. Highly recommended. ”

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To Kill a Mockingbird at the Everyman, Cheltenham

“. . . This production thought it had something new and original to bring to the proceedings. They wanted us to know that To Kill a Mockingbird was from a book. In fact, the whole company, with the exception of the three children and Atticus, had a copy about their persons at all times which they were at pains to demonstrate as they all took turns reading from it . . . ”

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