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Click on this LINK for previous SelectedPostings in 2025
Garth
Tao of Glass
What a beguiling and bemusing creation!
Luckily, “Your Comments” does not require me to say what it was about. It was about so many things and its form took many shapes. (Maybe “things” and “shapes” are not terms that really apply here, when what we were being shown – or indeed following – was a path, a way, the pathway of Philip and Phelim). The show was, as the phrase goes, a game of two halves – in the first the silver-tongued Phelim gives us a granular narrative of his failure to bring a collaboration with Philip to fruition. Glass’s music was flowing quietly in the background. It moves to the foreground in the 2nd half, its hypnotic character working its way into us (and more obviously into Phelim). But within these two parts, came a sort of Royal Institution Christmas lecture, a charming magic show, a philosophical meditation and finally a kind of sacred ritual. Did it all hang together? I guess it did. The interweaving of Glass’s mesmerising music and McDermott’s performance, especially in the second half, took me away for a while from my material surroundings. (The way the magic manuscript paper behaved, shape-shifting and adhering made me think of candy floss, a feature of funfairs visited in my childhood).
Extraordinarily imaginative and immaculately executed in every aspect, the performance drew me into a strange confessional world, intimate and dreamlike and full of quiet humour and clever showmanship. I’m not sure I really grasped the conceptual cone and its layers – did things sag slightly when that was being explained? – but the falling and rising of the concentric rings did somehow transmit a mood. It was altogether a powerful experience.
Photos: Johan Persson
Gina, Carina and Paul
August 5, 2026
The Car Man
Sexy, sizzling and definitely not subtle, last night’s performance at Sadlers Wells was utterly sensational. Having been lucky enough to see the Car Man previously with the theatre group, a second viewing did not disappoint.
With the usual touches of Matthew Bourne’s humour and playfulness, the show was wonderfully undercut with an edginess of repressed desire and simmering violence which had us on the edge of our seats throughout.
We especially loved the mix of dance styles – the muscular athleticism of the group dances, the flamenco flicks and stomps, the drowsily lithe tango leg slides – we were utterly seduced. Excellent seats as always, thank you. We certainly saw everything under the bonnet (!)
Margaret and Jo
August 5, 2026
The Car Man
I have not seen this ballet before although we have seen a number of Matthew Bourne’s productions so I know to expect the unexpected. I thought at first I was in West Side story with dance not songs but all soon became clear. The physicality and athleticism of the dancers was amazing. I think I enjoyed the first act a little more than the second but the story would not read without the darker ending. My daughter accuses me of always taking her to raunchy shows! And this was indeed a script for grownups. It was wonderful entertainment in a theatre we really love. Many thanks Fredo and Mike.
SEE photos and videos
at this LINK
John R
July 29, 2026
The Truth
What a fabulous evening indeed. Florian Zeller has written some of the most amusing, and also profound, plays of the last 10 years or so. The Truth tantalises us, and challenges us to discover what lies under the busy and very funny manoeuvres of the characters. The star, of course, is Stephen Mangan who gets funnier and funnier, the more desperately he tries to keep all his devious plates spinning. There are so many aspects to the plot, and once the audience learns the basic mechanics of adultery, the more we await the next slip-up in the alibis. These are so cleverly plotted and often explode without warning, delivering huge gales of laughter from the delighted audience. It is extraordinary to see how Mangan manages to reach ever-higher levels of self-justification and outrage but he does! The whole cast is brilliant, but perhaps Janie Dee offers something more profound in her tearful scene at the end. Excellent seats, Fredo, and thanks.
Mike and Margaret
July 29, 2026
The Truth
You have to enjoy the theatre to venture out on a steamy summers evening to see a relatively short play. The Truth was certainly worth the effort. I had seen the play before at the Chocolate Menier Factory and recall my daughter and I on the front row being taken aback by a naked posterior as the lights went up. It was Michel emerging from his tryst with Alice. I enjoyed that play but enjoyed last evenings performance better. It was of course. Stephen Mangan’s wonderfully comic performance that created this. The whole play seemed to rest on humour as opposed to lust. StephenMangans character Michel was very well supported by Sarah Hadlands Alice. I loved her when in Miranda and she is a great comic actress Paul, Ardal O’ Hadland and Laurence, Janie Dee played it less flamboyantly yet they I believe were the dark horses with most secrets to hide. In all a sophisticated production with very funny bones.
We have applied to ‘Melting Pot’, the show’s producers, for permission to publish the production photos by
Johan Persson and are awaiting a response.
The photos below will be removed immediately upon request.
Jean Birch
Jesus Christ Superstar
I’m not a fan of Sam Ryder, but as soon as it was announced he would play Jesus I knew he would have the perfect voice for the role – and the hair helped!!! It was a quite different presentation from the superb original I saw in the mid 70s starring Paul Nicholas. Stage scenery (or lack of lack of it) has become more streamlined in modern times, allowing the viewers to visualize the scene for themselves – and the dancing lent so much emphasis to the story. Voices were strong, but Mary Magdalene’s “I don’t know how to love him” stole the show!
What a superb production. I was singing most of the songs in my head and having a wonderful evening. Thank you, theatreguys, for giving me the opportunity to relive this musical.
Sue Hampson
J
Jesus Christ Superstar
A fabulous evening! I’d never seen the show so had no expectations or comparisons. I really enjoyed lack of scenery as it allowed your imagination to take over and particularly liked the drama and implied menace from the soldiers.
The last supper was haunting and I found the garden of Gethsemane scene distressing. Mary Magdalene and Judas were outstanding, especially as Judas was only recently cast. A powerful and emotional show and Sam Ryder haunting Jesus.
Thank you Fredo and Mike for yet another hit!
Photos: Johan Persson
The stage is set, before Acts 1 and 2. Set Designer: Tom Scutt / Lighting Designer: Lee Curran (Photos by Mike)
Jean
July 10, 2026
Sinatra
Hmmm? I didn’t like it to start but Frank’s voice definitely improved as the show progressed. The second half was way more enjoyable than the first. It was a bit disappointing players didn’t appear in white naval uniform after “Gene Kelly’s” tap dance. It was a pleasant enough way to spend an evening after Wimbledon overload!! And the bonus was both the coach and the theatre had aircon – and I bumped into Billie Jean King!!
Barbara & Dennis
July 9, 2026
Sinatra
The storytelling was excellent albeit maybe a bit too long, so was this a play with music or a musical. The highlights for us was when ‘Frank’ sang with the band at the end of the first and second acts. Whilst a number of songs that you attribute to Sinatra were included, having them sang by other cast members didn’t have the same effect. Maybe by reducing the story telling and have more Sinatra singing, much like the finale for Tina, it would have been a musical. Thank you Fredo and Mike for organising the evening.
Click on this LINK to the show’s Gallery
Photos: Brinkhoff/Moegenburg
Garth
The Guilty
Seventy minutes after curtain-up and we were back in the street. In my dotage, I am happy with short plays – but was this one too short? What we saw on stage – bloke alone in an office – contrasted with a stream of hairy events whizzing along elsewhere in the ether. That was a clever conceit and as a dyed-in-the-wool technophobe, I was surprised how vividly the gruesome outside world could be conjured up by electronic communications. I decided that it didn’t much matter that I couldn’t follow how Joe could pick up so much precise information so quickly from the often-blurred sounds made by his callers.
Suppressing the thought that this was really a radio play on stilts, I was in awe of Russell Tovey’s detailed and nuanced performance. He bemused us with his shifting reactions, moments of macho dismissiveness, objective professionalism, self-pity, guilt and more, all flickering along rapidly.
The concluding reveal of the hitherto hidden voice-of-them-all was a nice theatrical surprise, at best adding a further layer of uncertainty to the preceding tangle of unseen events, at worst a misjudged shattering of our suspension of disbelief.
Another meticulous Donmar production – smart, in all the modern meanings of the word.
Photos: Helen Murray
Gina, Carina and Paul
So Are We: León and Lightfoot
A truly unique celebration of movement, last night was our first introduction to the inspiring choreography of León and Lightfoot. The stylistic flair and intensity of the performances were like no other ballet we have seen before.
The frenetic jutting and angular movements of Shoot the Moon, with the guttural cries and hisses, showcased the inner turmoil of the relationships so effectively. Difficult and dark, it was also balanced by moments of sweeping fluidity and elegance that added punctuation marks of hope and escapism. This was ballet that encompassed the whole body; a visceral and powerful performance that left its heart on the stage, bruised and quivering. Beautifully arranged music by Philip Glass added a cinematic quality
The second ballet of the evening, Salle de Danse, shared the intensity and paired back style of the first but also made room for some humour and was a joyful and playful celebration of dance.
This short running programme would easily have passed us by, so a big thank you to the theatre group for the wonderful seats and an important reminder to try something out of your comfort zone!
(For photos click HERE)
Jennifer
6
Cyrano de Bergerac
What a treat to see Adrian Lester back on stage. Wiki tells me it’s 10 years since he starred in Red Velvet, about the 19th century black actor Ira Aldridge, at the Garrick. His star quality was evident then as it was again last night. As Cyrano, Adrian captures the character’s wit, intelligence, erudition and, on occasion, arrogance while also revealing to us the vulnerable soul behind the bravado (and the nose). For an actor in his late 50s, Adrian’s physical strength and stamina was most impressive, including a cartwheel!.
Cyrano’s story is well known from the many film adaptations of Rostand’s novel over the years and this production had a new, modern translation and some adaptations. I wasn’t sure that all the updates worked, including the addition of a child actor playing the young Cyrano which felt unnecessary given Adrian’s skill in inhabiting the role. And the less said about the sweary novice nun in the later, sadder scenes, the better.
I’m also not sure that Susannah Fielding’s feisty Roxanne would have fallen so hard for Christian, played by Levi Brown, who just wasn’t handsome enough, at least for me. Apologies to Levi, who conveyed very well the discomfiting aspects of Cyrano’s “appropriation” of his epistolary relationship with Roxanne. In retrospect, these are minor quibbles on what was undoubtedly Adrian’s night. It’s good to have him back on the London stage even if, perhaps, his proboscis wasn’t quite prominent enough to overshadow his still handsome features….
Garth
Cyrano de Bergerac
This production could be described as a Gesamtkunstwerk, a “total work of art.” It’s a fabulous combination of great acting and witty, athletic choreography, sinuous live music, atmospheric lighting and imaginative use of the whole auditorium. What more could you ask for? (Well, at Bayreuth you’d expect rather more singing).
There’s a comedia del’arte feel about the style, initially at least, with elements of Monty Python thrown in as appropriate. Likewise, the text retains its original verse mode at times but the explicit modernisms are well judged and rib-tickling. The touching storyline is in no hurry to reveal itself. The surrounding “business” – so very well done, detailed and polished by the energetic cast – sometimes risks clouding the plot, but that is forgivable.
I guess that the play’s continuing audience appeal is its central paradox. Levi Brown as Christian carries his awkward role very well, charming but not overly bovine. As Cyrano, Adrian Lester gives us his all, a truly remarkable multi-faceted character, both bold and vulnerable, triumphant and tragic. He does not overshadow other cast members and the well-honed ensemble is impressive. Altogether it’s a fine tribute to the RSC and a wonderful example of what live theatre can do.
Click on link below to see Gallery of photos by Marc Brenner
https://www.delfontmackintosh.co.uk/whats-on/cyrano-de-bergerac#gallery
Jennifer
May 27, 2026
Grace Pervades
David Hare, one of our foremost living playwrights (now Tom Stoppard has died) has mostly written about the state of the nation, eg Murmuring Judges and Pravda, or recent history, eg Plenty and Straight Line Crazy. His one man play about his battle with Covid, Beat the Devil, starring Ralph FIennes, moved me to tears in its socially distanced presentation at the Bridge Theatre in late 2020.
In Grace Pervades, Hare turns his attention to Henry Irving and Ellen Terry, two Victorian theatrical greats who dragged theatre, and acting, into respectability through persistence, hard work and sheer talent. FIennes, again, and Miranda Raison are perfectly cast as Irving and Terry and watching them take us through the pair’s long professional and personal relationship is a pleasure.
However, Hare also seems fascinated by the history of theatrical production at the time and the interconnected relationships between its players (sorry) including Terry’s children, their lovers and associates. At times, it felt like we were ticking off the names of those people: Isadora Duncan, Stanislavsky, Vita Sackville West, George Bernard Shaw and even Peter Brook. I expect a playwright of Hare’s calibre to do his research but do I need to see it referenced in a play that starts to resemble an overstuffed Victorian sofa? Maybe Jeremy Herrin, the director, should have taken a red pen to the text in the way Irving famously did with Hamlet?
Conversely, another quibble is with omissions from the play. Bram Stoker, of Dracula fame, was Irving’s assistant for a long time but is not mentioned and nor is the play’s title explained. Grace Pervades refers to a contemporary review of Terry which stated “Grace Pervades the Hussy”. Ouch. Thankfully, as group members, we have Fredo to set the scene for us and fill in the gaps.
I’ve gone on too long, a bit like David Hare, but wanted to say I did enjoy watching two fine actors at the top of their game. We knew Ralph would be giving his considerable all when we saw his brother Joseph in the foyer before curtain up and he didn’t disappoint. And if Miranda Raison doesn’t get an Olivier nomination it’s a tragedy.
Helen B
May 27, 2026
Grace Pervades
I would rate this play as quite entertaining. There were some good one-liners which, particularly when they dealt with theatre, actors and acting, were warmly received by the audience. Most of this humour was admirably delivered by Ralph Fiennes as Sir Henry Irving.
When Fiennes and Miranda Raison (Ellen Terry) were on stage the play had pace and interest but in many other scenes it felt flat and I do not really think it was the fault of the actors in the minor roles, more the drama itself.
It was still a pleasant way to spend an evening: thank you Fredo and Mike.
Photos: Marc Brenner
Garth
Equus
“Physician, heal thyself” – this ancient saying came to mind at the close of this wonderfully intense production. Just whose traumas had been subject to unpacking? Not that poor boy’s only. We are allowed to see as much into the uncertainties of the psychiatrist’s mind as into the distortions in that of his patient. And beyond that question, the scope of Peter Shaffer’s play seems almost cosmic, running through time and space, from the world of pagan gods to the commercially-drenched television era, from dreams of barbaric divination to porno cinema, from Christian belief to aggressive atheism, from teenage romance to disturbing eroticism. All this was concentrated into and enhanced by the Menier’s tight acting arena, where the dramatic range and energy of all the players were truly remarkable and where cruel coruscating lighting told us an unspeakable story.
The sequence of heated confrontations between the tweedy defensive shrink and the tortured youth and his uneasy parents might have come over as rather stagey in other hands. Here, however, they build into a convincing whole, matched in dramatic terms by the skilful unspoken passages between the entranced boy and the group of extraordinary equine figures. Here too there’s a powerful evocation of some sort of mythic heroic classical scenario absorbing the imaginations of both the boy (Noah Valentine) and the doctor (Toby Stephens).
This was surely a triumphant and memorable realisation of Shaffer’s play – what an experience – come to the theatre and see the world!
Photos: Manuel Harlan
Carina, Paul and Gina
Les Liaisons Dangereuses
Shocking, thrilling, and thoroughly debauched, what a disturbingly good way to round off the Bank Holiday at the NT with Marianne Elliott’s Les Liaisons Dangereuses. This was a mesmerising play that, although difficult to watch at times, unflinchingly portrayed the cruelty and corrupting influence of the late 18th century French aristocracy.
Had it not been for the great casting, the calculating Marquise de Merteuil and the lupine Vicomte de Valmont could have slipped into caricatures of malice, and yet the wonderful Lesley Manville and Aidan Turner brought glimpses of humanity to their characters (and even flashes of the very vulnerability they so despise in their ‘prey’).
A special shout out to Tom Jackson Greaves’s choreography: the frenzied dance sequences and sweeping balletic performances intensified the urgency and physicality of the play. The clever use of smoke and mirrors also added to the themes of distortion, deception and vanity that underscored the play.
Thank you Fredo & Mike for the excellent seats, we felt right in the heart of the drama!.
Photos: Sarah Lee
John R
Mass
It is a long time since I have experienced such intense silence as I “heard” at the Donmar last night. Four people trying to make sense of the dreadful tragedy they all shared. The setting seems to be the meetings room of a non-denominational church, where a meeting has been carefully set up by a social worker or therapist (?) to try for reparation between the parents of a murdered boy and the parents of the perpetrator. What causes such acts, can anything have been done to prevent it, what signs were missed, what were the seeds of discontent in the mind of the killer? Was a constant devotion to the computer screen, at the expense of human relationships, the starting point? (a very topical subject right now). The subtle facial and body language of the characters as they carefully sifted the thoughts of the other characters, allowing lengthy passages of silence, was beautifully conveyed. There are no real answers to these unfathomable occurrences, yet the mutual determination of both sets of parents not to upset the other, or to put blame on anyone, (while most of them blamed themselves in various ways) was moving , and indeed at the end, some sort of calm had been achieved. It was a Mass indeed, for the families of the bereaved. Flawless acting from the four principals, and perhaps unfair on the others to pick out Monica Dolan, who has always been a favourite. Despite very different circumstances, this play reminded me of Punch, which we saw a few months ago.
Mike and Margaret
Mass
Once again The Donmar achieved a theatrical production that would be hard to imagine happening as successfully elsewhere. The script, the staging and the acting were exceptional. All drama relies on the words and message of the author and Fran Kranz gave the actors some amazing material to work with. And they did so wonderfully well. How did the heart wrenching conversation between the four parents work so smoothly that it seemed like magic that they appeared at different angles. From mundane organising of the room plus vacuum cleaner to the harrowing image of the two bereaved mothers embracing and weeping together we the audience followed their journey. The title Mass includes the awful horror of mass shooting and also seems to imply a spiritual ritual like a Catholic mass. Thank you again Fredo and Mike for choosing this breathtaking play for us.
Chris Fountain
Mass
Yet another superb play at the Donmar with the exciting opportunity to talk with the writer Fran Kranz who said he was inspired to write the play when his daughter was four years old at the time of a school mass shooting. I hoped for the achieved ending but the labyrinthine route navigated by the deeply wounded parents was distressing and harrowing and achieved through exceptional acting. Thank you Fredo for the opportunity to see it.
Photos: Richard Hubert Smith
Maureen
The Price – a thought provoking play. Interesting to see how the same situation is seen from different points of view. Victor thinking he is helping his father and not listening to his wife and resenting his brother who is only thinking of himself and trying to justify it with money. What is the difference between the price of a life and the price of possessions? The dealer had another view of price and put together made an excellent comment of long held prejudice. I thought all four actors were excellent but for me the dealer stood out. I enjoyed seeing a theatre new to us and hope to visit again. Thank you Fredo, another play to make you think.
Garth
The Price
I guess we all have an attic of some sort, physical or mental or both, and Arthur Miller makes powerful use of its metaphorical possibilities in his play. Those great lumps of brown furniture and the assorted bits and bobs may look as though they are in transition out of our lives, but despite their mute and immoveable appearance, they are latent reminders of our past errors and joys. Try and get rid of them and heaven knows what will ensue.
The playwright loves a meaty symbol and he chews over this one at some length (there was a degree of repetition, but of course, families are prone to that….). His four vivid characters are never short of a word or three. They readily dig into their own pasts and into the history of America and “the system” that can bring both triumph and disaster, both material and psychological.
All four actors were on top form, passionate and convincing. As the hapless policeman, Elliot Cowan was for me the most engaging, holding the stage throughout. Henry Goodman gave a marvellously detailed spirited performance as the old dealer, just about staying this side of caricature. Faye Castelow was a fiery catalyst, effective in a role that Miller did not really round out. As the flawed brother, John Hopkins was also strong, his sudden appearance at the top of the stairs bringing act 1 to a screeching halt. (I kept trying to dismiss his Midsomer Murder days from my mind).
All in all, a terrific show, the well-filled set and atmospheric lighting offering a memorable context for some great ensemble playing.
Photos: Mark Senior
Judith & John
Mayerling
Thank you so much Fredo and Mike for this return to the Opera House and putting up with the difficulties they caused you, we appreciate it very much much
We had never seen Mayerling before and it did turn out to be as dark as expected. The story of an entitled son of royalty using his position to abuse women and it all ended badly! A long ballet but so much to take in. Calvin Richardson gave a creditable performance but Sarah Lamb was just exceptional, surely the human body should not be able to do those things!
Like some others, we did find it hard to identify several of the characters and having no printed cast list made it difficult to do so. The opera house are ‘reducing their carbon footprint’ but we do miss the cast list being handed out.
We always like a view of the orchestra too and they gave their usual impressive performance. The arrangement of Liszt’s score was very subtle, fitting and dark too. We were intrigued by the large pear shaped stringed instrument that took the harp part. Any advice on its name would be very welcome.
We are not sure if we would want to see this again for the plot but we thoroughly enjoyed this performance and the beautiful dancing, choreography, costumes and music and, of course, the day in Covent Garden.
Jennifer
Mayerling
I’m not a regular at the ballet but the opportunity to see Steven MacRae dancing in the male dancer’s equivalent of Hamlet was too good to miss. Sadly, MacRae was injured so Calvin Richardson stepped in. I don’t know enough about the technicalities of ballet dancing to judge Richardson’s performance on those grounds but I thought he, along with his many female partners (as other have said, Sarah Lamb’s performance was heartbreaking), conveyed the emotional turmoil and, let’s be honest, lust experienced by Prince Rudolf so very well. The ballet was long and the story was complicated (thank you so much Fredo for the helpful synopsis) but the emotional intensity didn’t falter and carried us through to the inevitable tragic ending almost without daring to take a breath….The sumptuous staging, costumes and orchestration were of the first class calibre one would expect of the Royal Ballet.
My only quibble with the production was the splendidly monogrammed curtains; should the King visit the Opera House at some point will he be just a little disappointed to see that the royal motif has not been updated for Charles III? Or will he, as we did yesterday, appreciate the traditions which the Royal Ballet obviously holds so dear. A splendid afternoon and a fantastic start to the Easter weekend.
Sue Webster
Mayerling was an unforgettable experience at the Royal Opera House !
I had read Fredo`s very helpful pre show information but every aspect of Mayerling exceeded my expectations! From the Overture with a wonderful orchestra to the more sombre final scene I was enthralled – impressive scene changing and lighting, colourful costumes ( ? how did the girls dance with such agility wearing elaborate dresses etc ) and the surprising piano and solo singing on stage
It was however the performances of the male dancers which enthralled — athleticism, precision, energy and a wide range of emotions – some troubling, some amusing which contributed to a wonderful experience for me. Thank you Fredo and Mike
Photos: Tristram Kenton & Andrej Uspenski (Click on photos to enlarge)
Helen
Evening All Afternoon
What a wonderful evening of theatre! From the moment Anastasia Hille began speaking in her role as the thoroughly beige, English, Jennifer, I was captivated. Those of us of a certain age in the audience could immediately relate to some of the issues and memory lapses she described. Her body language was fantastic; she exhibited that sort of tortured nervousness that can be displayed by some people, women particularly maybe, who lack social confidence and have low self-esteem. As the play went on, however, we discover there is considerable strength of character and a wealth of kindness below this surface.
The play offered the younger generation an opportunity to self-identify also, with the character of the apparently brash American step-daughter, Delilah, played by Erin Kellyman. As the play develops we need to adjust our views of the two characters and their relationship and bear in mind the central magic message that things are not always as they appear, or indeed that what appears may not be there at all.
All this is dealt with through humour and intense emotion. The central concern of the play, the relationship between child and mother, is the only relationship one can be sure that most of the audience will have experienced. This is one of the many reasons why I feel sure anyone who sees this play will enjoy it. Added to some heavy stuff were many laughs, particularly in the early part, and a series of running jokes, many linguistic, about the differences between the English and Americans. Thank you for providing me with the opportunity to experience this excellent night out.
Photos: Marc Brenner
Maureen
Arcadia
A thoroughly enjoyable play full of wit, charm and laughs. Thomasina was delightful, thrilled about her understanding of mathematics and Septimus engaging. Every character showed their own personality so clearly and I was pleased to see that Nightingale’s arrogance was thwarted. So good to be able to hear the words clearly whichever way the actor faced. I thought it was an excellent production and I am very pleased I had the opportunity to see it. Thank you again Fredo.
Michael E
February 19, 2026
Arcadia
It was such a privilege to see Arcadia at The Old Vic yesterday. Thanks for the opportunity. The whole thing was top-notch. It was such a clever play (done cleverly) and certainly, in parts, too clever for me. What was so appealing was the inclusion of so much humour. The auditorium was full which made for a lively and entertaining atmosphere.
Nicole
Arcadia
Tom Stoppard always takes me back to my student days, when heated debate went on into the early hours and ideas fizzed and sparkled. I love him for his lack of condescension: he trusted us to keep up with him and be in on the jokes and yesterday’s audience proved he was right to do so . Arcadia shows his mind working full pelt, making connections between apparently random concepts as Thomasina and later Valentine see one can join the dots of iterative equations to reveal an object’s true form.
But it’s not just ideas and wit as the characters reveal their own, contradictory nature. At the heart of the play is Thomasina, a luminous girl on the cusp of womanhood.
It was a beautiful production with superb acting by all and a minimalist but poetic set. Stpoppard would have been proud and I dearly regret he won’t be around to challenge us with new plays.
Thank you, Fredo and Mike, for this magical theatre afternoon.
Kathie
Arcadia
Any comments I might have made have been covered, with much more eloquence, by the previous contributors. I had hopes that my A level studies in pure and applied maths might have been beneficial but, alas, not that much. Fortunately the essence of the play stands on its own but, even more fortunately, there was someone for whom the science did provide a catalyst. Reading about the play on Wiki, there is a section which states that the surgeon Michael Baum was so inspired by the play that his research into chemotherapy for breast cancer led to the the use of tamoxifen with a significant reduction in mortality rates. Unintended but hugely beneficial consequences of Stoppard’s imagination, thankfully.
Photos by Manuel Harlan
June
Shadowlands
I saw the film back in 1993 and a line from it struck a chord with me: “The pain now is part of happiness then”. I lost my first husband to cancer the same year, and so of course the line was particularly significant, as was the film.
As to the play, I loved every minute. The script was so engaging and the story so well told and so sad, especially as it is a true story. They say opposites attract, and so Jack, prolific writer of the Narnia books, is slowly captivated by Joy, a poet, free thinker and the total opposite of himself.
Sarah
Shadowlands.
What a treat this play was. The acting was superb – especially from Hugh Bonneville. He was hardly off the stage at all. The attraction of opposites makes an intriguing love story, and there were humorous as well as deeply moving moments. I knew the plot from seeing the Joss Ackland version, but this didn’t spoil it for me.
Wendy
Shadowlands
Wow! I so enjoyed everything about this performance. It was excellent in every way and extremely emotional. I intend to buy and read his book, A Grief Observed.
Thank you both for all the opportunities to experience such amazing, talented theatre.
Richard and Lyn
Woman in Mind
We didn’t know the play so the production was not quite what we expected. Not every play has to fit neatly in a category but we suppose this is a sort of psycho-drama comedy. Sheridan’s isolated and unloved Susan did a good job of leading us though her breakdown. We thought that the symbolic use of the safety curtain to separate realities worked pretty well. The first act seemed quite thin but, by contrast, action accelerated significantly in the second. Eventually, we were left a little dazed. Would we recommend? No. Are we glad that we went? Probably. Thank you to Fredo and Mike for the stimulation and a thumbs up to Cooks Coaches who have been doing an excellent and efficient job since the introduction of direct booking.
Photos: Marc Brenner
Kathie
KENREX
Like many, I’ve seen one-person shows, including, most recently, Mark Lockyer playing all the parts in an abridged Hamlet, Andrew Scott’s extraordinary Vanya and Jodie Cromer in a single role in Prima Facie. Jack Holden, very ably supported by John Patrick Elliott, giving some musical interludes or background, takes the concept to the extreme. I didn’t count up how many characters he presented to us, each with an identifiable and consistent voice, plus mannerisms. To find that both of these performers are English is a further testament to their talent to draw us into this quintessentially mid-West setting. The story has hugely dramatic aspects which are reinforced by effects and the music, and which evoke a sharp intake of breath as to what will happen next. A privilege to see and very grateful to Mike & Fredo for encouraging us to see it. A solid 5*.
John R
KENREX
A jaw-dropping experience indeed. To call this a one-man play would be to misrepresent it badly. Jack Holden shows us an entire community stuck in the boondocks (Skidmore, Missouri) where nothing happens – until the events of 1981 when a despicable local, Ken Rex McElroy, shoots the popular local butcher. Jack Holden gives a tour de force performance, using a vast range of sound, lighting and hugely dramatic country/rock music to tell the story , He conveys through voice, body language, and sound, an entire community. It is very exciting and the packed house was held spellbound. The precision of technical aids manipulated with great speed indicated that a skilled team of backstage technicians were onhand. It was a terrific evening and I am so grateful that F&M led us there. I am not surprised that the remaining performances are sold out. It will surely get an extra life, if Holden can keep it up!
Richard and Lyn
Kenrex
We didn’t just enjoy the performance, we were blown away, never seen anything like it. What talent and energy and the music blending with the spoken word so effectively. It will be interesting to see what Jack Holden does next, how can he follow that performance. Thank you Fredo and Mike for the strong recommendation.
See more photos at this LINK
Linda King
Into the Woods
Thank you Fredo and Mike for such a great afternoon at the Bridge Theatre. I was hooked into the production from the beginning and was impressed with the cast, costumes, music, staging, sets, etc. The diction was clear and the singing of the tricky Sondheim harmonies was impeccable. I’d see this production again in a flash!
Kathie
Into the Woods
My only previous exposure to this fairytale smorgasbord was the 2014 film and it was fun to see how all of the characters and plots could be accommodated on the small stage. The staging and sets were beautifully used and presented with an impressive cast bringing Sondheim’s magic to life. However, there was a lot to cram in and I’m not sure it always worked with uneven pacing in each half. Kate Fleetwood was the surprising standout and I don’t recall her singing prowess making that much of an impression in High Society in 2015. Overall, glad to have had the opportunity to go Into the Woods, in a 3.5/4* way. (Continued below)
Jennifer
Into the Woods
As others have said, this was a fantastic staging at the Bridge Theatre with a beautifully evocative set, sound and lighting, a terrific orchestra and a top notch cast. Kate Fleetwood and Jamie Parker stood out for me with their singing and ability to convey the emotional journey of their respective characters while still dancing in time.
And then, of course, we have Sondheim’s words and music. The many intertwined stories, from the book by James Lapine and based on tales by the Brothers Grimm, are, indeed, grim. Death, betrayal, disappointment and greed feature heavily, particularly in the darker second half when even the handsome, romantic princes are revealed to have loose morals. One review suggested that the dark themes were drawn from Sondheim’s own unhappy childhood which explains a lot. The songs are well known to aficionados but haven’t moved into the mainstream in the same way as, for example, Send in the Clowns, Even so, you can still find yourself humming the recurring refrain while making your coffee the next morning….
On balance, this was a stimulating afternoon with much to savour in the production and performances but, for me at least, a show to admire rather than love. I completely acknowledge the genius of Mr Sondheim but, on a cold wet Wednesday in January, I wouldn’t have minded a happier ending.
Photos: Johan Persson
John R
When We Are Married
A lovely evening’s entertainment with a great cast, including many favourites such as Siobhan Finneran, Sophie Thompson and Ron Cook. But I recognised the handsome John Hodgkinson from having taken over from SR Beale as Titus Andronicus earlier at Hampstead, earlier in the year. An actor with immense stage presence. New to us were Janice Connolly as the hilarious Mrs Northrop; her musical contributions put everyone into a merry mood. But the whole cast played together well – and at speed since the director, Tim Shead, kept things going at a fair old pace. Ron Cook is almost the star of the show, who can keep his comic timing and knockabout business with ease, can sometimes hint at sadness beneath the surface of his character. He is immaculate. The plot, of course, is as silly as was Fallen Angels, but who cares. It was the acting and direction that gave such pleasure. BUT do we believe that the couples will now remain happy ever after? I particularly doubt the future of poor Annie and the truly dreadful Albert, and the future of Herbert with the very funny but shrewish Clara. Will those who need to make amends for past behaviour change their spots so quickly?
Mike and Margaret
When We Are Married
I love this play. Of course it starts with a great text , with humorous dialogue and great characters. Priestley’s ear for dialogue really captures the expressions of his native Yorkshire. Then Tim Sheader brings the play to life on a very smart Donmar stage. All the cast are wonderful. I really don’t want to single one out from a real ensemble performance. With the outside world such a worrying place this production brought real escapist joy and a special Christmas treat.
Monica and Robin
When We Are Married
As soon as Mrs Northrop took to the stage it set it up for the rest of the play, which was hilarious. All the characters are beautifully drawn and well acted which made for a very successful production, well done Tim Sheader. Donmar has done it again.
Photos: Johan Persson
Monica and Robin
Indian Ink
The play was dedicated to Laura Kendal, Felicity Kendal’s mother. Tom Stoppard had seen Felicity Kendal in a film ‘Shakespeare Wallah’ and Tom Stoppard said ” I’m going to write this play for you in which you go back to India. Seems Tom Stoppard and family ( not his father, sadly he was killed) were going on a ship to Australia but landed up in Bombay? Her father was a travelling actor in India and had his own company. The programme is one of the most informative of programmes, hence getting the details from it.I have the actual script and programme of thirty years and Felicity Kendal was playing Flora Crewe. I loved the play then and again last night. I came here from India when five years old hence loving the country!
We both thoroughly enjoyed everything about the play the play and the clever staging.
It was an absolute bonus being in the front row so thank you Fredo and Mike for giving us the treat.
Also Bill for driving us there and back in such good time.
Helen
Indian Ink
This felt more of a discussion than a drama although I enjoyed it. When I read in the programme than it was originally a radio play (though Stoppard altered the text for the stage) that seemed to go some way to explaining my reservations. The set was excellent and the acting too but for me there was a lack of intensity or emotion in the actual drama.
Garth
Indian Ink
The car-collecting rajah had more pearls on his chest than you’d find in the average oyster bed and that rather spoke for both the play and the production. It twinkled and glinted beautifully – full of rich gems – the whole Stoppardian parade – literary jokes, side-ways cultural references, imperfect sources of information, unfinished paintings, hesitant relationships, even tea and cake in the garden – you name it. That indirectness worked well in making us think about the nature of British presence in India (and what being out of it carries with it) and about human connections more widely. This wasn’t a head-on excoriation of the colonial experience, but something more nuanced, uneasy and uncertain, a probing of identity, cross-cultural assumptions and attitudes. Flora’s mention of E.M.Forster’s novel where unknowing abounds was perhaps unavoidable. Indeed, the eager-beaver would-be biographer of Flora (the well of Bloomsbury was and still is far from dry) blundering around gave us another recognisable layer of imperfect exploration.
Stoppard treads delicately over sensitive terrain. And I guess he is always careful to balance out prejudices and stereotypes, even when Eleanor seems just about to say something dreadful (Felicity Kendal was on commanding form). Ruby Ashbourne Serkis (Flora) and Gavi Singh Chera (Nirad Das) were very impressive together. Other cast members offered us a string of convincing enjoyable vignettes. Somehow the flexible set (we will forget the momentary wobble) seemed to fit the feel of the play (slightly old-fashioned in form for all the momentary “full-frontal nudity”) and effective use was made of the auditorium. All in all, a very satisfying evening – no wonder the run has been extended.
Photos by Johan Persson
Gillian
Top Hat
A delightful post-Christmas show that entertained from the very start and had my feet tapping to those nostalgic Irving Berlin songs and music, with mesmerising dance routines played out on a clever art deco set. Witty, comical, colourful costumes with brilliant acting from a strong cast. Although I did feel that ‘Jerry’ looked slightly nervous during the dance routines when he was required to throw and catch his cane but he did it with aplomb. It was an evening that captured a bygone age beautifully and I came away with that feel-good feeling. Thank you Fredo and Mike for a jolly good evening of entertainment.
Sally
Top Hat
“Top Hat at the Queen Elizabeth Hall was a most enjoyable evening. I hadn’t realised until later that “Jerry” was played by an understudy, which perhaps explained some early nervousness — quickly and impressively overcome. The set was elegant and attractive, though it did create a rather smaller stage, which at times felt restrictive for the dancers. That said, the performance as a whole was hugely entertaining
Overall a most enjoyable performance (although the seating in the Hall was sadly not quite as enjoyable!).
Thank you Fredo and Mike for yet another great evening in London
theatreguys 