JERSEY BOYS at the Bristol Hippodrome

JERSEY BOYS at the Bristol Hippodrome

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“. . . The soaring falsetto of Tim Driesen as Frankie Valli, harmonising with the other ‘Seasons’ in Ron Melrose’s arrangement and the full auditorium filling sound prompts an instinctive grin of approval. Without a ‘by your leave’ we are then into, ‘Big Girls Don’t Cry’ (something to do with a line from a John Wayne film) and ‘Walk Like a Man’, the import of which it seems needed explaining to producer, Bob Crewe (given a nice period camp by Matt Gillett). . . “

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Constellations at Bristol Old Vic

Constellations at Bristol Old Vic

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” . . . Exactly as theatre should be, Constellations is vivid, honest and electrifying. It excites the imagination and enflames debate. It strips away and remoulds the narrative structure in order to create a spectacle that makes us question the very nature of our reality. It shows us a world of infinite possibilities and inevitable truths as it leads us through some dark, uncomfortable routes, and still it should leave you feeling warmed, positive and inspired . . .”

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The Importance of Being Earnest at Malvern

The Importance of Being Earnest at Malvern

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“. . . This new revival is eloquent and hilarious in equal measure. The physicality of characters and script is ingenious, engaging and energised on a level not seen before. Noble has manage to add so much more content to the already superbly witty dialogue, for which Wilde was famous, making this play look as if it has just been penned and as fresh and current as any new writing appearing at The Royal Court. . . “

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THE MOTHER at the Ustinov, Bath

THE MOTHER at the Ustinov, Bath

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Florian Zeller is a clever writer. Instinctively it appears, he has learned one of the peculiar strengths of the theatre; the relationship between spectator and actor, in tandem with one of the most precious of dramatic skills, how to manipulate the audience. We saw it in The Father and here in The Mother (the first of the duo) we have that rug-pulling ability that makes us question what we see and what the actors are seeing.

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THE PYRAMID TEXTS at the Door, Birmingham Rep

THE PYRAMID TEXTS at the Door, Birmingham Rep

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” . . . Alone in a boxing gym, with a video camera, there is one last thing that Ray has to do. Recording the lessons learned from a lifetime in the ring, he is forced to lower his guard and face the consequences of feelings buried for years beneath his hardened exterior . . . Christopher Fairbank does a splendid job of letting us in, despite the obvious challenges the piece burdens him with. His performance is dynamic and full of energy, his physicality gives a real sense of a proud ex-boxing champion . . . ”

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Birmingham Royal Ballet at the Everyman, Cheltenham

Birmingham Royal Ballet at the Everyman, Cheltenham

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” . . . Ballet is often talked about in hushed, reverential tones and taken awfully seriously. Façade, though, is wonderfully disrespectful and laugh-out-loud funny. After the first little cameo, Scottish Rhapsody, I said to myself, “Yeh, that’s my favourite.” Then the Tyrolean milking piece, Yodelling, and I said, “No, that’s my favourite.” And so it went on . . . BRB is always a joy to watch and I look forward to seeing them with a sort of childish glee of which a man of my age should be ashamed. But I’m not, I love ‘em.”

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