“. . . Bertie is always Bertie but I lost count of the characters played by the two butlers. Both John Gordon Sinclair and Robert Goodale (who is also co-writer) excelled in their many and varied guises. Mr Sinclair was hilarious as the short-sighted, newt-loving Gussie Fink-Nottle but I think he was funniest as love interest Stephanie . . . There was an excellent front-cloth scene which was like something out of an old music hall.”
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“A live action graphic novel fusing martial arts and hip hop, The Five and the Prophecy of Prana is an exciting new touring production from Blue Boy Entertainment. . . The graphics are beautiful, and fantastically evoke both the spiritual world of Wang Tang in the classic Japanese landscapes, and the violent world of bar brawls. . . has some exciting ideas but doesn’t quite manage to create a satisfying narrative as a whole. The set design, dancing, and choreography can’t be faulted, but as a cohesive story it leaves a little to be desired. “
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“. . . Institute is no walk in the park. The enhanced sound of the dancers’ breath and breathing told us a lot of what we needed to know about their state of mind, and sometimes the physical effort of their work. There were brilliantly executed passages – at one point all four men linked arms and twisted, pivoted and tangled together as a pulsing human amoeba. . . Gecko to its great credit and courage seeks to break down the parameters of conventional dance. Institute is more evidence of this bold theatrical initiative.”
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” . . . Reade winnows out the emotional and narrative core of Morpurgo’s original allowing the audience to be drawn in to the story. In Alison Reid he has the perfect combination of experience and talent to bring the enterprise to life. Like a ball of knots waiting to be unpicked in order to reveal some inner goodness she goes about her task with an eager effulgence. . . . This is masterful storytelling by all concerned and a gem of a standout performance of the Brewery’s year.”
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” . . . Merrick, as sympathetically played by Daniel Chrisostomou, is naked. His deformities are outlined with a wire frame which not only describes his grotesque shape but also acts as a cage in which he is trapped. The loose folds of repulsive skin which were also part of his disfigurement are represented by swathes of chainmail draped from the wire. The effect is brilliant and works perfectly.”
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“Wearing a red cushion for a crown and looking not unlike a character out of Captain Pugwash, Antony Sher as Falstaff sits atop a wooden chair as makeshift throne. . . Gregory Doran’s sparkling direction is both inspired and thrilling. This is the RSC at its most dazzling. The speed and range of the proceedings are breathtaking . . . That [Falstaff] is an out and out rogue is never in doubt, yet it is he who delivers a withering account of the real meaning of honour. From deep within his corruption comes uncomfortable truth. Magnificent.”
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