“When seeking an ideal topic for a play one would not immediately think of a man who befriends an invisible 6 foot tall rabbit, but that is the unlikely tale that Harvey tells. The production however was an instant hit when it opened on Broadway in 1944 and was made into a film on 1950. . . . Seasoned actor James Dreyfus is compelling as Elwood. His timing is precise; he brings a charm and tenderness to the character who chooses to be pleasant as opposed to being smart. His characterisation asks questions of the other characters and of the audience – which points to a job well done. . . “

“. . . The customary Stoppardian leaps of imagination are transmuted here into leaps between epochs and the play’s USP is the way it skips nimbly between the early nineteenth and latter twentieth centuries, drawing our attention, by way of a number of devices including speculations about rice pudding and jam, to the uni-direction of time or ‘entropy’. . . This stylish English Touring Theatre production offers everything a Stoppard fan might look for, fizzing as it does with intellectual challenge and might even gain a few converts along the way.”

“. . .Devised, adapted and performed by Michael Sabbatton, we are introduced to Francis Wayland Thurston, who is in possession of a box that has haunted him for years. We are told the tale of Cthulu and how many before him have been destroyed by the curse that the box brings its owner. . . The descent into madness by forbidden knowledge is excellently captured by Sabberton; it makes for gripping and at times quite harrowing viewing. . . “