Roald Dahl’s THE BFG at Birmingham Rep

” . . The contributions of the supporting players here are outstanding. Mei Mac is the most consistently comic performer. She and Mike Goodenough have wonderful synergy in their performances as Corgi and Queen . . , There is an honesty in its intent that is very easy to appreciate A problem arose with two odd jokes in its second half—whether they were offensive, or “politically incorrect,” or simply poorly delivered, I do not know—but the team may do well to avoid such material as it can make the show seem dated.”

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Rumpelstiltskin at the egg, Bath Theatre Royal

” . . . The production had a lavishness reminiscent of the Victorian theatre with live music (I would love to be able to see the musicians in future productions, space permitting), well-tailored and colorful costumes (the slick, black leather, punk style suit of Rumpelstiltskin could well appear in Bath fashion week) but most of all the quality of the rhyming words and lyrics introduced a level of imaginative stretch that we no longer associate with family entertainment. . . ”

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SLEEPING BEAUTY at the Everyman, Cheltenham

” . . .The backbone of the shows for the past three years has been the inspired pairing of William Elliot as the dame and Tweedy the Clown as … well, Tweedy the Clown. Their magician sequence in Sleeping Beauty was the funniest thing in it with Tweedy the Conjuror revealing more music-hall skills and Willie revealing what this pantomime dame wears under her big frocks – leotard and tights – as his beautiful assistant . . . Altogether, this was one of, if not the best, pantomime produced by the Everyman in recent years and one with which it would be impossible to find fault. I enjoyed every moment.”

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EXIT THE KING at the Ustinov Theatre, Bath

“In Ionesco’s list of the realities of life, death looms large. In Exit the King, which is like a panto for grown ups, set in a kind of crumbling Ruritania, designed by Anna Fleischle, we find king Berenger in the last hour and a half of his life. The play stands outside conventional time and space (indeed surreal) so aiming at (we might suppose) a universality of context. . . The play continues the season of high quality international theatre which is becoming the hallmark of the Ustinov under Laurence Boswell.”

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A FAREWELL TO ARMS at Birmingham Rep Studio

“. . . The story follows Frederic Henry (Jude Monk McGowan) and his time fighting as an American soldier in the Italian army including and eventually limited to his relationship with English nurse Catherine Barkley (Laura Atherton) . . . Atherton’s performance is one that confounds me still, even on reflection. Is it some kind of surreptitious genius? Is she supposed to be so annoying? Is it a commentary on women, whether of the period or through Hemingway’s eyes? I would argue not, but its imbalanced nature lends itself to readings of the play (and the novel) as one that is as variegated as its audience . . . “

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TOP HAT at the Bristol Hippodrome

“A large and appreciative first-night crowd clearly transported, rising as one to cheer a sparkling band of hoofers at Bristol’s Hippodrome theatre at the end of a Top Hat delivered with gusto, and no little wit. . . Irving Berlin’s classic musical still has the power to lift us up from the despond of austerity 80 years after its massive box office success in 1930s America. All the elements are there – celebrity, wealth, (discreet) sex, love and a happy ending . . . It’s a big hit, enjoy!”

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