Viewed one way, Hoffman’s play is not a play about AIDS and its repercussions; it is a play about ignorance, discrimination and fear. Viewed that way, it is still a play of enormous power and relevance. Indeed, viewed as an AIDS play it is still an important piece – the research today suggests that levels of misapprehension and misunderstanding about AIDS are almost as high now as they were in the 80’s.
Watching Julie Atherton, Simon Lipkin, Gina Best and Samuel Holmes work their magic, individually, in couples, and as a quartet, it was difficult not to wonder if there was actually anything, any material, into which these four could not breathe life, and let fly higher than it has any business flying. They certainly give I Love You, You’re Perfect, Now Change an energy, an enthusiasm, an ineffable joy which far exceeds its obvious potential.
Director AdrianNoble strikes gold in the quartet of lovers: Gwendolyn, Jack, Cicely and Algernon. Without any question, Emily Barber and Imogen Doel are utterly exquisite, fabulously surprising, and inventively adorable as, respectively, Ms Fairfax and Ms Cardew. I have never seen better performances of those roles on any professional stage. Algernon is here played by Philip Cumbus, whose hunger and enthusiasm for Cicely matches his fervour for muffins. The gifted Michael Benz is a spiffing Jack/Earnest.
Timothy Sheader’s utterly astonishing, profoundly beautiful, and intensely gripping production of To Kill A Mockngbird, is now playing at the Barbican Theatre. It’s not practically perfect in every way – it is absolutely perfect in every way. In terms of glorious story-telling and superb ensemble acting rapturously telling a richly detailed and extraordinarily resonant – but sublimely simple – tale, there is nothing to touch this production (bar Gypsy) currently playing in London.
This is a feel-good production of a difficult play. The very best thing about it is Dominic Rowan’s exceptionally charismatic Duke. In the second half, particularly, the underlying comic approach to the play allows Rowan to have a great deal of fun, and the final scenes, which can be excruciatingly painful to endure (because in some productions, essentially, the Duke is emotionally torturing Isabella in those scenes) are light and engaging.
The Dreamers is a real mixed bag. Musically it is often very strong; the musical direction and band are both terrific. However, lyrically and dramatically it falls short, especially the paper-thin first act. Despite this, it would be cruel to be too dismissive of The Dreamers
What play should you see first in London? We have compiled this list to save you the trouble of working it out! It’s just our view – and everyone has one – based on our Reviewers’ thoughts. We will update the list regularly so new productions get on your radar and when original casts change that is factored in. Plays which have been running for more than three years are not included – this is a list for new or relatively new productions running in London. So go see them! 1. To Kill A Mockingbird Timothy Sheader’s utterly astonishing, profoundly beautiful, and intensely gripping production of To Kill A Mockingbird, is now playing at the Barbican Theatre. It’s not practically perfect in every way – it is absolutely perfect in every way. In terms of glorious story-telling and superb ensemble acting rapturously telling a richly detailed and extraordinarily resonant – … Read more
The star of the show, in truth, is Carole Todd’s spirited, cheeky, and knowing choreography, which brings out the very best in the cast and masterfully establishes high readings on the happy barometer of the mood in the auditorium. The cast might not be real hookers, but they are all good hoofers.
