This was a lavish, sumptuous production from a company that is by far the best at bringing imported Russian opera and ballet to British audiences . . .There is a current trend in theatre for the curtain to be up and the set to be visible to the audience as they enter, rather spoiling the surprise. The surprise and delight last night was palpable as the curtain rose to reveal one of the best sets of its type I have seen in recent times. It was real old fashioned, beautiful scenery. It was like being inside a Pollock’s toy theatre or at La Fenice in Venice.

“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.”