“. . . Tom Conti is ideally cast in the Henry Fonda/James Stewart type role, his easy going manner soothing the more volatile elements from a cross-section of 1950s New York society. They are all there – the bigot, the young guy from the same side of the tracks as the accused, a couple of besuited and respectable city types and another with anger management issues. It is rare you see such a large ensemble piece with all the links in the chain equally strong . . . ”

“. . . Orpheus is washed-up. He eats too many doughnuts, he’s drunk, and he’s doing stand-up comedy for the gods . . . As Orpheus’s heart breaks in front of us he reveals so much about the fundamental point of stories, and of the art telling of them . . . This is a story so mesmerizingly told that it’s easy to forget that it’s happening within the constructs of the theatre. Martin Bonger is Orpheus. His story is captivating, and devastating, and real. Even the trees and rocks would stop to listen. “

” . . . Roxana Silbert’s direction is sharp and crystal clear, allowing for a very smooth feel to the production. She captures the essence of the period, as well as the pressure upon Bertie’s shoulders, magnificently. From the start the scene is well set, with Bertie being dressed by two footmen, whilst a maid provides tea and toast. The two hours in the auditorium seems to fly by before you are routing for the new king at the finale. Not a sound is heard in the audience, such is the suspension of disbelief, and the piece comes to a satisfying climax. . . “