Having seen to what brilliant effect such a cast can be used in the recent production of ‘Romeo and Juliet’ it was a shame to see a similar cast, so underutilised in The Grapes Of Wrath.
Author Archive | Jonathan Hall
Seeing Terry Johnson’s stage adaptation of The Graduate, I find that thirty plus years have put me entirely on the side of Mrs. Robinson
Perhaps the greatest testament to the spell cast by Lifeboat came from the audience of children sat crossed in two rows either side of the performance space, cross-legged, unmoving, immersed and rapt.
It was fitting that at the end that Oona the elephant took her own curtain call; it was exactly right for a production that takes that imaginative part of our minds and directs it so powerfully to explore ecological issues that none of us should be ignoring.
The concluding moments of ‘The Full Monty’ summed up the whole show: energetic triumphant dancing, dazzling lights, pumping music all received by enthusiastic standing ovations from a cheering audience.
At the interval and the end- especially at the end- the audience, which included a large element of young people, erupted with a spontaneous cheering, whooping enthusiasm- it was the perfect response to this enjoyable production.
At the end of the day, however, any production of Pygmalion stands or falls by its Eliza and Higgins: here the pairing of Natalie Gavin and Alex Beckett were terrific.