It really is shatteringly good in every way. And the final blood-soaked vignette is both poetic and horrific
It’s a joy to see and hear creative Australian voices, onstage and off, in London. This show is worth a full scale production, properly funded and promoted. It’s a true pity its short season has now concluded.
This is a musical farce. No question. And a very funny one. But it has a conceptual twist: the fourth wall is broken allowing asides to or with the audience or conductor, or wry, deftly done onstage business.
It is difficult to see how this production could be better. Scary, imaginative and practically perfect in every way. A modern fable not to be missed.
Nona Shepphard’s achievement here is really quite astonishing: this is a sensational premiere of a new work. Why it is not playing at the National is one of life’s mysteries.
This is an extraordinary play performed and directed with consummate skill and incredible insight. It should transfer to the West End and be seen by anyone who has a family.
This really is first-rate modern theatre: challenging, entertaining and questioning. Rupert Goold’s vision for the Almeida is electrifying.
Herrin completely understands that and his production is in terrific synchronicity with Mitchell’s vision. A glorious revival of an under-rated masterpiece.