Merit has a timeless quality, examining themes relevant to any society going through economic upheaval. It also explores broader ideas such as our responsibilities towards others when money is short: Patricia questions Sofia’s decision to give to charity when people are losing their homes just as many people question whether countries in recession should continue to give aid to the developing world.
Morton-Smith has written a masterpiece which Angus Jackson has cast and directed in a way which gives it full measure, lustre and power. No one here gives anything other than a first-class performance. John Heffernan, in the central role, with the bulk of the play squarely on his shoulders, is world class. He is magical, mercurial, magnificent.
Seriously – anyone interested in good productions of musicals should hot foot it to Manchester to catch Bond’s work. The puppet plants which Olié produces here are wonderful, that magic combination of fascinating and repellant. Gunnar Cauthery makes an excellent Seymour, all shy, geeky and naive. Kelly Price is luminous as Audrey.
The Theatre Royal Windsor and Paul Taylor-Mills have announced the return of weekly repertory theatre to the theatre with one company presenting a season of six classic revivals from Tuesday 26th May to Saturday 4th July 2015. The Theatre Royal Windsor has a strong history of repertory theatre dating back to 1938. When the theatre was converted into a cinema in 1929 to cater for the arrival of the talking pictures, John Counsell, who went on to be the theatres director for almost 50 years, lead a campaign to restore the theatre as a playhouse. In 1938, the theatre was successfully reopened and a repertory company was founded with a standing company of actors. The Company remained at the theatre unsubsidised for almost five decades, and in 1988 celebrated its fiftieth birthday; an occasion attended by Her Majesty the Queen. Robert Miles, Executive Director of Theatre Royal Windsor said today: … Read more
A beautiful, sometimes shocking, sometimes haunting, production of an intricate and detailed dissection of human frailty and weakness. Doran lavishes great care and attention on the task of illuminating the text, telling the story in an engrossing way. Niki Turner’s spare, but stunningly effective design, aids immeasurably.
The production is blessed with good acting, impeccable timing and a sense of style, mischief and swagger which accentuates its high points. Pretty much everyone is trying to best everyone else with an armoury of quips, quibbles and quizzical asides and, happily, Luscombe seeks to make the most of this.