“After their acclaimed Six Wives of Henry VIII Living Spit are back with another romp through Tudor history. . . There is throughout much rudery, buffoonery and outright absurdity. . . I expected to be amused by Elizabeth I – Virgin on the Ridiculous and I was not disappointed; what came as something of a surprise was how genuinely informative it is. . . . Elizabeth I – Virgin on the Ridiculous is a hoot – go see it.”
Read More“….Ginny Davis has struck what, for the fringe at least, is a sadly neglected seam of theatrical ore – the concerned middle classes, always wanting to do the right thing, trying to see the best in everybody and adapting to change with a relaxed stoicism….The effect is to add a kind of immediacy of the, ‘they’re making it up as they go along’ sort, to a play which has wit and charm in equal measure and which, like a Joyce Grenfell monologue or a Posy Simmonds cartoon will have audiences giggling with the delight of recognition.”
Read More“…what elevates the piece is the sheer force of performance. Hicks, Dexter and Clothier take the space by the scruff of the neck and command you damn well follow them into their hell! And Clothier’s suave depiction of shady cousin Kurt coolly adds deceit and roguery to the mix…Watching the balance of power shift between the three characters over the course of the twelve rounds is compelling viewing”
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“…The staging of this production is spare, and wonderfully so. An empty stage with a vibrant backdrop of lights, paintings, and curtains changes each scene smoothly and with minimum clutter of props. At the front of the stage sits Hanif Khan, a musician who, with a series of hand-drums and other small instruments, conveys the tone and emotion of the play marvellously.”
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“…Niamh Cusack literally and metaphorically rolls her sleeves up as the embodiment of long-suffering Irish womanhood in a role which comfortably extends her range well beyond that with which her TV audience will be familiar. Her final cri de coeur as a bereaved mother is one that has sadly echoed down the ages, but for all that retains its power to move.”
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“Throughout, this slick standout NT ensemble relentlessly engages the laughter button with risqué one-liners, and a naughty postcard attitude to tits, bums and other unmentionables so deeply ingrained in the British sense of humour. All were outstanding, but in particular Alicia Davies’ depiction of the spiky but vulnerable Rachel Crabbe caught the eye.”
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