RSC’s HENRY IV Part 1 at the Theatre Royal, Bath

RSC’s HENRY IV Part 1 at the Theatre Royal, Bath

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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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MY PERFECT MIND in The Door at Birmingham Rep

MY PERFECT MIND in The Door at Birmingham Rep

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” Drawn from King Lear and his own autobiography, it explores Edward Petherbridge’s life before, and after, the stroke he suffered in 2007 that meant he had to withdraw from playing the iconic Lear . . . The surreal action, with its underlying truth, makes for a compelling performance . . . My Perfect Mind is a gracefully honest, whimsical portrayal of a difficult time in Petherbridge’s life. It is a piece of devised theatre – clever and courageous theatre which sheds light on his recovery from a potentially life destroying condition.. . .”

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DANGEROUS CORNER on tour

DANGEROUS CORNER on tour

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“. . . This production stays true to the 1930’s setting, which seems essential to the events that the play describes. Gary McCann’s realistic Art Deco set and costumes give the required opulent feel to the world the characters inhabit. Michael Attenborough’s subtle direction ensures that the pace is sharp which is vital in a production of this type. . . You’ll see better plays Dangerous Corner but this production is refreshing and well performed – and in thrillers isn’t it more satisfying if you don’t already know the plot after all?”

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CLAMBER UP THE CRUCIFIX at the Old Joint Stock, Birmingham

CLAMBER UP THE CRUCIFIX at the Old Joint Stock, Birmingham

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” . . . Jonny McClean gives a versatile performance and the distinction between characters, rooted in his clarity of accents, is never a problem.. . . this piece of theatre aims to do its utmost to help us understand and should be applauded for the honesty John Kitchen’s script and the performance portrays. . . . A gritty, honest, unique piece of theatre that has you hooked from start to finish; a great reminder of our historical heritage that we should all strive to understand and respect – go see it if you can.”

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BALLET RAMBERT at Bath Theatre Royal

BALLET RAMBERT at Bath Theatre Royal

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” . . . The Theatre Royal audience rose as one to acclaim the ensemble after a triumphant, exhilarating and sensitive performance to some of the Rolling Stones’ finest early works. In a last moment of silence, Cuban dancer Miguel Altunaga jutted his chin out in a gesture of male bravado and brought the house down . . . This was fabulous stuff, devoured by the audience who at once became animated, to some extent released from the more demanding abstractions that had preceded it . . . Sassy, sexy and strongly recommended.

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ERIC AND LITTLE ERN on tour

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“. . . The timing is perfect, the idiosyncratic twitches and mannerisms, the playing with the glasses the tilt of the body, the thrust of a one-liner are all as you remember . . . You’ll find the Grieg’s Piano Concerto sketch and the paper bag gag done with as much freshness as at their first outing. Ashpitel and Stephens have worked hard to retrieve the original feeling of the routines and it has clearly been a labour of love. If you share the affection or if you ever wondered what your parents were groaning on about this show is for you.”

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