Julian Eaves 
Overall, Whisper House is an interesting experiment, a novel departure from the ‘norms’ of musical theatre. If it doesn’t quite fulfill its ambitions, well, that’s not the worse thing in the world, is it?
There is a simplicity to the characters which is artless and appealing in its own way, but it also makes them rather thinly drawn, and even over the course of an hour, we find ourselves asking rather more questions about them than we find answered.
Kray Kray is another terrific feather in the cap of the enterprising Theatre N16 and not to be missed.
If you can get a ticket for the remaining shows, do. If not, she’ll be at the Wyndham’s as ‘Lady Day’ in May. Perfect.
Go for the music, and you’ll have a ball.
Treading similar terrain as the recently seen ‘Mrs Henderson Presents’, it has an infectious score, well-written dialogue, and a story that revolves around more than one centre of gravity.
This is a worthwhile exercise, it is well produced, well acted and well nigh bound to leave you thinking that, as far as the development of nineteenth century British theatre was concerned, so much better was yet to come.
But there is more truth in The Life than in ten other shows currently playing in town, and if you care about life, if you want to see it as it is, not as some escapist fantasy might like you to imagine it to be, then you will find no greater pleasure than to spend a few hours in the company of these wonderful people who have brought to London’s stage, after twenty years, this astonishing and remarkable event.
