The BBC sitcom series of many years ago, Richard Curtis & Ben Elton's Blackadder, is a natural for the stage, with its larger-than-life characters (caricatures, really; and then some) and Chaucerian ribaldry.
While Miriam and the Monkfish could easily be overlooked as a pastiche of celebrity chef culture it’s the satire in the writing, along with Kelly’s energetic performance, that carries the show beyond this.
Director, Dino Dimitriadis, for Epicentre Theatre Company, has done a particularly fine job, in taking Christopher Sergel's adaptation of Lee's perennial novel to the stage
Set in a beauty parlour in Louisana, six women, each with their own difficulties, share confidences and jokes, enjoying a level of intimacy not otherwise found in their lives.
In The Duel, we see the exploration of movement, of the non-verbal, of gestural, a collision of the contemporary stage craft and an antique Russian rumination.
A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
Blind faith and rational belief are always sparring partners in dramatic conflict and so it is here with the power play tinged with superstition and salaciousness.