Handbagged promises much and delivers very little. It’s vaguely interesting and occasionally genuinely involving
Perhaps it was just that Richard II promised so much, but this Henry IV Part One did not make one long for Part Two.
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.