Matthew Lunn 
Mehmet Ergen’s production of Chekhov’s final play is thoughtful and thought-provoking, characterised by a number of terrific performances and a well-judged sense of irresolution. Whether you are a Chekhov neophyte or keen scholar, I am certain that you will be enriched by this production.
Dubailand offers a striking portrayal of the titular city, which does great credit to its writer. It is an enjoyable play, characterised by a good cast and a number of thought-provoking and well worked motifs. Nevertheless, the central narrative feels at times implausible and incomplete, making it also a slightly unsatisfying experience.
The Litterati is an intriguing deconstruction of life on the margins of society, seen through the eyes of its sheltered protagonist. The play occasionally suffers from melodrama, and explaining, rather than demonstrating key elements of the narrative. Nevertheless, this is compensated by otherwise perceptive dialogue and strong performances. It is certainly worth a watch.
We asked our reviewers to take a look at 2016 and to nominate some stand out productions for 2016. Matthew Lunn replied with the following:- 1. Hangmen This pitch-black comedy centred on the life of a celebrated hangman (David Morrissey), and the discovery that one of his victims may have been innocent. Morrissey’s caustic performance, coupled with Johnny Flynn’s extraordinary turn as his enigmatic antagonist, defined this witty and gripping piece. Read Matthew’s Hangmen review. 2. The Dresser A superb revival, which truly does justice to Sir Ronald Harwood’s perceptive and poignant script. Set in a provincial theatre during World War 2, the play captures the strained, but intimate relationship between a fading actor and his loyal dresser. Reece Shearsmith is on terrific form as the eponymous Norman, whilst Ken Stott delivers a career-defining performance as ‘Sir’. Read Matthew’s review of The Dresser. 3. The Comedy About A Bank Robbery … Read more
Sean Foley’s production of The Dresser is simply extraordinary. Ken Stott and Reece Shearsmith are outstanding as ‘Sir’ and Norman, whilst the supporting cast, and Harriet Thorpe’s ‘Her Ladyship’ in particular, are truly excellent. It is a thought-provoking, funny and poignant piece, which not only does full justice to Sir Ronald Harwood’s wonderful script, but the acclaimed productions that preceded it.
The Libertine is an enjoyable, but rather unfulfilling play. The Earl of Rochester is an intriguing figure, and Dominic Cooper’s is a witty and energetic portrayal. Yet in spite of the high calibre performances and tremendous dialogue – I lost count of the number of phrases I felt “I must look up” – The Libertine is a rather aimless piece. For all the philosophising and avarice, at its heart are two incongruously conventional romantic narratives. In spite of good performances by Ophelia Lovibond and Alice Bailey Johnson, these fail to draw complete conclusions about Rochester’s desire to love himself and others, and reconcile how such a passionate man could let his thirst for life slip away like so many empty carafes.
The Play That Goes Wrong is a highly entertaining show, with a fine new cast of actors and a artfully catastrophic set. Given this, and the British public’s acute awareness of personal embarrassment, coupled with the uniquely comic and cathartic potential of witnessing it in others, the play is destined to be a long-runner in the West End.
Macbeth When asked to reflect on Shakespeare’s most ‘political’ plays, many of us would say and Richard III without a thought. Such is the astonishing influence of House of Cards, whose iterations are both strongly influenced by these political tragedies. Consequently this ‘new version’ of Richard II, which retains Shakespeare’s text but is set in modern-day Parliament, risks unfavourable comparisons. In fact, it is a very shrewd interpretation, with excellent performances from the two leads, a very solid supporting cast, and a simple but highly effective set.
