This delightful pair makes for a rewarding change to the consistent politically and socially topical comment that seems standard fare in today’s comedy delivered to shock and perhaps incense
This is the debut play from Chaser collaborator Chris Taylor; and the level of sophistication makes you wonder would it be produced by STC if it weren’t for his notoriety
This play is about sex used as a weapon whether active offensive or passive. It makes for great theatre because we still find it hard to face the issues that come with what must be the most complex emotional trigger in our battery of hormones.
Beyond the array of prodigious technical & artistic skills, unmistakably in (abundant) evidence, lies a palpable humility, and understatement, which is refreshing in these times of celebrity egocentrism.
Roger Gimblett's evocative production of Forty Years On, will slingshot to mind, memories of tuck shop milk bottle confectionery, stoggy custard school dinners and assembly hymns sung out of tune
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.