“. . . 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. . . “