BARGAIN THEATRE

THE ONLY TRUE HISTORY OF LIZZIE FINN

“It’s 1892. Lizzie Finn is a celebrated dancer. Charmed by a soldier returning from the war, Lizzie becomes entangled in an intense and passionate affair.”

You could have fooled me.

Shereen Martin takes the lead as Lizzie Finn, unfortunately monotone and lacking patriotic passion of the Irish. The only demonstration of her “celebrated” dancing was a few Can Can moments during the first scene. Justin Aroth as her suitable suitor Robert Gibson starts out very much the same but grows throughout to fulfil his role, though this still doesn’t light the passion between the pair.

The relationship between Jelly Jane (Lucy Black) and Finn is delightful. Jane’s departure is touching, especially the defiance to allow her emotions to take control. Penelope Beaumont as lady of the house Lucinda Gibson is accurately stern and discerning, but her curious accent confused me geographically. Andrew Jarvis as Bartholomew Grady was captivating during the second act with his small, entertaining snippets of dialogue.

Karen Grogan was most definitely the shining star here as Tilly and later Teresa. Both parts she played with equal conviction and I remember her striking a similar chord in Playboy of the Western World. From her first entrance she was energetic and engaging, commanding the audience’s attention and I found myself constantly awaiting her return.

Short scenes capture your attention but are equally disjointed, with random blackouts and time lapses. Relationship developments happen over a matter of seconds, not allowing us to invest or care.

Candles encased in jars suspended from the ceiling provide constant flickering light against a black backdrop, a nice touch to the night time scenes but not flexible enough for other scenes. One member of the audience found herself counting them, instead of watching the performance, to see if any had gone out. A set of steps reminiscent of a sea front provide the set, again not allowing much room for movement or imagination.

Don’t get me wrong, the cast are talented but the material leaves a lot to be desired. I couldn’t understand why this story attracted anyone’s attention in the first place to develop it for the stage.

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REVIEWED: 29/06/12
By Frank Butler

27th June - 29th July 2012
Southwark Playhouse, London, SE1.

THE HISTORY BOYS

Having seen both the National Theatre UK Tour and the West Yorkshire Playhouse productions of The History Boys, I couldn’t help but have high expectations when I arrived at the Greenwich Theatre Sell a Door’s version. I am sad to say this production did not live up to my high expectations and I felt it made one of Alan Bennett’s greatest works into a very laboured affair. I should probably make no secret of the fact that The History Boys is one of my favourite plays and so I may be more easily disappointed than others. But the fact is, I was disappointed.

The script itself is an actor’s dream with endless witty one liners, fierce debates and above all, wonderfully crafted characters but unfortunately it seemed this cast just did not take advantage of Bennett’s writing and just trundled along at a pace that can only be described as a slow fizzle. As always there are exceptions and today it was Amanda Reed as Mrs Lintott who brought the script to life – although it is interesting to note that she did play the same role in the West End transfer and UK tour.  As a group ‘the history boys’ were charming enough but the majority of the characters lacked personal depth. I spent most of the time willing Chris Aukett in particular to make much more of his role as Timms – the part played by James Corden in the original production. Credit absolutely must be given to Lawrence Murphy who had clearly done the leg work in making his performance as Posner go that extra mile. He created some very touching moments as the gay Jew from Sheffield (Bennett’s words – not mine!)

As eccentric English teacher Hector, Richard Rycroft approached the part with a much harsher tone than I had seen it played before. At times this worked but the role also demands a great sensitivity which allows the audience to see the relationship between teacher and student develop and flourish – a sensitivity that Rycroft didn’t have. It was for this reason that I was left feeling very cold at the end of this production. Rycroft made Hector seem like just any old teacher: something the character certainly is not.

In the play’s second act, Rudge (Alasdair Hankinson) boldly claims that history is “just one fucking thing after another” and despite the line gaining a few laughs from the audience, I couldn’t help but feel it was also reflecting my feelings towards the production as the last few scenes became somewhat monotonous. My guest actually turned to me and asked if it was nearly over.  There was little creativity in the direction and there is only so many times an audience can watch a group of boys troop on and off stage through a door or see the Headmaster trying to squeeze around the edge of the set to sit in one of the two chairs which were meant to represent the staff room.  Despite a few glimmers of life, The History Boys made for a very disappointing evening of theatre.

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REVIEWED: 19/06/12
By David Coverdale

18th - 24th June 2012
Greenwich Theatre, London, SE10. 

A MIDSUMMER NIGHT’S DREAM

I like to think I know my Dreams, having seen some stunning productions in the past – so I was excited to see that Regent’s Park would be staging it this year in rep with Ragtime, having never been disappointed by their productions in the past. Sadly, this production did not live up to previous expectations by any means.

We’re welcomed by a caravan, mobile home and crane - the land of the gypsies.  This does work with mixed success, it’s one of the few ways of having a modern day set-up where a father could possibly just about get away with killing his daughter.  The setting also gives a good excuse for some harmless fighting between the two chaps at the top of the show.

Costumes were well thought out on the whole; fairies were wearing woollen dress, the lovers modern day and the mechanicals in high-vis jackets, as you do. Hermia’s costume is a continuous attention seeker, clearly far too short a dress for Hayley Gallivan to be comfortable with (I lost count of the adjustments) and becoming increasingly ripped throughout her forest dwelling.

This production was built on gimmicks, the worst of which being act 5 as a whole – we are now watching a Channel 4 documentary, complete with an exaggerated wedding dress for Hippolyta and a lot of dancing. I realise the cast are capable of singing (for they double as the Ragtime company), however past 10pm on a chilly evening we do not really need to hear 10 or so minutes of song pertaining no bearing to the play at all.

The one advantage of a long production is the ability to see James Farncombe’s striking lighting design, one thing outdoor productions generally overlook and I’m pleased to say this one didn’t.

The mechanicals were a real low point, director Matthew Dunster seemingly didn’t direct their scenes, the usually excellent rehearsal barely raised a snigger from the audience. The sung-through final performance was another lovely chance for the actors to demonstrate their vocal talents but completely illogical (especially to the tune of “So Long, Farewell” and “It’s Not Unusual” amongst others). Also, why this had to be followed by a medley of various cultural hits I have no idea.

It really felt as if the play was just there to facilitate the gimmicks. I’ve barely scratched the surface of those here but they include a graphic mating scene between Bottom and Titania (the latter ending up topless).

Some people clearly enjoyed the performance, personally the text in itself is rich enough to sustain the comedy. However, I do not think that any of the laughs in this production came from the script. It’s a shame – Dream outside in these gardens could have been a wonderful experience, I couldn’t have left quick enough.

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REVIEWED: 07/06/12
By Daniel Whitley @DanielWhit

In rep until 5th September 2012
Regent’s Park Open Air Theatre, London, NW1.

FAITH

Timed to coincide with the thirtieth anniversary of the Falklands War, PACM and Achilles Entertainment stage this drama, set on the islands during the height of the conflict.  Sandra (Georgina Sutton) is ex-pat British, having given up the hustle and bustle of UK life for a sheep farm.  The play is set in her farmhouse, which is also being used as temporary accommodation for some of the British soldiers.  Events take an unforeseen course when a captured mercenary is discovered to originate from the United States yet fighting for the Argentineans.  The production is beefed up with the enlistment of Charlie Clements to the cast, he of former Eastenders fame in the shape of Bradley Branning; but even with his inclusion, it failed to captivate.  

Much of the content of the first act revolves around the sub-society the soldiers have created in Sandra’s home and in particular, the relationship between an ineffective Sergeant and his over-bearing, cocky Lance Corporal.  This point is laboured and becomes weary, making it difficult to relate to either of them.  Twenty year old Stanley Eldridge convincingly plays the antagonistic perma-tanned Lance Jack Adam Ziller though, but I just struggled to accept that the Sergeant would allow such relentless bullying from a lower rank in the thick of wartime.  Ian Sharp’s Sergeant Toby Spiers is one of the dullest characters I’ve come across in a play for a long time, I’m unsure if this is a directorial decision or down to Sharp but the result is a desolation of charisma and therefore lack of empathy.  

One redeeming feature is Alexander Wolfe as the somewhat dim-witted Private Lee Finch whose acting provides a ray of sunshine to an otherwise bleak prospect, I shall look out for him in the future.  The other private, played by Charlie Clements, is scarcely seen during the first act and is unmemorable during the second, despite the writer Meredith Oakes including the familiar staples of sex and murder to invigorate the story.  
 
Overall, a disappointment; the theme is very much of interest but the lack of a decent, credible storyline left me flagging too many times.  If you choose to pay a visit, be aware that the production contains a lot of adult language.  

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REVIEWED: 25/05/12
By Gareth Richardson @BargainTheatre

23rd May to 16th June 2012
Courtyard Theatre, London, N1.

BRIMSTONE AND TREACLE

WHAT THE BUTLER SAW

Doctors, doors and dilemmas provide the backbone of the latest farce to hit the West End, but is there room for another comedy in the marketplace already shared by One Man Two Guvnors and Noises Off? Add recently closed The Ladykillers to the list and it’s evident that Theatreland has had it’s fair share of laughs in recent months. Perhaps as a distraction from the gloomy weather and economy.

Written in 1967, Joe Orton’s final play takes us to an examination room in a private clinic where we meet randy psychiatrist Dr. Prentice trying to seduce an unsuspecting, young, blonde secretary Geraldine Barclay (Georgia Moffett). They are interrupted by his fur-coat, knickerless, nymphomaniac wife and from there are set on a downward spiral of pandemonium, particularly as a Ministry inspector chooses to pay an unannounced visit at such an inopportune moment. It’s all a bit Carry On Doctor and very far-fetched but nonetheless provides much merriment. With clothes swapping aplenty, it’s not so much the goings-on that cause concern, it’s more what’s coming off that matters here!

Samantha Bond as the whisky-loving, Doctor’s wife has revelations of her own as she is being chased by a bell-boy (Nick Hendrix) who has taken ‘revealing’ photographs of her during a recent encounter in a linen cupboard. Somehow, he is persuaded to don a peroxide wig, leopard-print dress and pose Bet Lynch-style as Miss Barclay, who by this time has gone missing. Cue a police sergeant, together with talk of incest and white golliwogs and there you are, all the ingredients for chaos are complete. Except I’ve forgotten to mention the naked man; how could I forget the naked man and the policeman’s helmet? Confused? You will be!

Omid Djalili plays the Ministry official Dr. Rance with tremendous energy and though he does need to settle a little, his is the central comedic role around which everything else hangs, giving Tim McInnerney a lot to play off and thus, in turn, the delightful Samantha Bond. In fact, there is enough there to write a book and that’s exactly what Rance says he will do, but all in good time. Speaking of which…

The plot is very hectic, calling for lots of nipping on and dashing off so timing is crucial and director Sean Foley has just about managed it. I should stress that I visited during previews and it was looking quite tight.

So where does the butler come into all this? Well he doesn’t exactly, except that we, the audience get his view, we see what he would have seen had he been there! Except he wouldn’t have been there because butlers don’t often work in madhouses, but who cares? For this is no time to apply logical reasoning, that’s the preserve of Dr. Rance whose irrational theories only lead to the calamity that all of the characters find themselves plunged into; and who knows where that may lead!

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REVIEWED: 07/05/11
By Gareth Richardson @BargainTheatre

16th May - 25th August 2012
Previews from 4th May
Vaudeville Theatre, London, WC2.

WHEN WOMEN WEE

When Women Wee is hardly a title that leaves much to guesswork, essentially, what you see is what you get.

Not surprisingly, the one hour play is set in a ladies’ toilet of a nightclub. During the course of the evening, many characters appear to perform the various things women apparently do in the restrooms of such establishments.

Each character, with a vague connection to one another, takes us through the evening, sharing their stories along the way. There’s the group of friends taking pictures in the mirror, “I do my makeup according to what I look like in the picture”, the hen party, the underage girls who’ve snuck in and the mother out for a ‘night off’. Drugs, fondling, dirty talk, falling over, raving and vomiting; all of which leads for a busy hour at Soho Theatre.

The play is housed in the upstairs studio space, which lends itself to fringe theatre, however with the sparce set and black curtains it has airs of a student showcase rather than a professional show. The multi-role playing of the five female actresses unfortunately lends itself to this also.

That’s not to say that the actresses don’t all do a good job, as they do, performing with complete commitment and energy. For the first twenty minutes this all seemed somewhat forced but thankfully this disappated with progress. The material is good, not groundbreaking, nor life changing, but for an hour of good fun it’s money well spent.
I would also note though, that this show had a largely female audience, of which a few vocal observations were thrown out during the performance such as ‘these are trade secrets’ whilst we watched an actress cover a toilet seat in paper in a methodical fashion.

An amusing highlight of my evening was one of, if not the only, male in the audience shrieking “Oh my god”, as two characters discussed the use of ‘feminine spray’, which delivers the scent of either summer meadow or winter rain - that in itself should paint a pretty strong picture of the play as a whole.

If you generally look for a show that will enlighten you or evoke an intelligent discussion, this is not for you; if you want an easy laugh and an entertaining hour then this delivers in spades, and where’s the harm in that?

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REVIEWED: 09/05/12
By Sally Bowles

8th - 19th May 2012
Soho Theatre, London, WC1.

HIS GREATNESS

Tennessee or not Tennessee? That is, maybe, the question but it matters not really, the story was however inspired by him. An unnamed yet famous playwright, basking in dated glory, facing the 1980s Vancouver premiere of his new play is shored up by his ever-faithful yet acerbic assistant who cocoons him in a protective world, shielding his employer-cum-lover from the perils that threaten to knock him into reality. Three’s a crowd it seems, when the arrival of a fresh-faced rent boy threatens to tip the assistant off his self-built pedestal. But they have been here before, he has seen off countless so-called muses over the many years of his engagement, so there’s nothing to fear this time. Or is there? Does he still have the will to endure his boss and all that entails? Actually, which one is most reliant on the other?

We’re not quite in the realm of Norma Desmond in Sunset Boulevard here, but the relationship between her and Max, the husband-cum-butler, are vaguely similar. Matthew Marsh plays the central ‘Playwright’ with conviction, beautifully displaying his character’s foul-temper for instance, when pressurised during a telephone interview with a radio presenter. He hangs up when she displeases him, much to the despair of his companion. Described simply as ‘The Young Man’ Toby Wharton, who shone in the Finborough’s acclaimed production of The Fog earlier this year, persuasively takes to the naive escort role. It is Russell Bentley though, fresh from Tennesee William’s A Streetcar Named Desire at the Liverpool Playhouse, who is most convincing as the ‘Assistant’. This new play, I assume, is not supposed to be about him, but he makes it so, for Canadian writer Daniel MacIvor ensures this is a battle of wills between the trio.

All of the characters are strong in entirely differing ways. The Playwright has his ego, reputation and fame as he is, afterall, the breadwinner. The Assistant is supposedly safe in the knowledge that the Playwright cannot function without his guidance, while the Young Man has the cocky confidence of a newcomer, who sees his chance to compete with, and perhaps replace the Assistant in the Playwright’s affections. The whole story is concentrated over just two days in the life of the three gay men.

Despite all the pieces being in place, this play did not quite do it for me and I don’t exactly know why. I felt the same with Plague Over England at The Duchess and the reason for that was equally enigmatic. Jean-Marc Puissant’s hotel room design is transverse, with the audience sat either side works exceedingly well; Ezra Axelrod’s Songs From An American Hotel take note! The chandalier-drop sidelights alone are worthy of their own mention. Che Walker’s direction can’t be faulted either, but somehow I didn’t warm completely. That’s not to say that others around me felt the same and I feel it’s only responsible to point that out. This is not a play about Tennessee Williams’ life, but I didn’t expect it to be. It is a lesson, perhaps, in how the building of artificial protection on rocky foundations, either for yourself or others must, at some point, only lead to despair.

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REVIEWED: 05/05/12
By Gareth Richardson @BargainTheatre

24th April - 19th May 2012
Finborough Theatre, London, SW10.

ROLL ON THE DAY

Strolling in London on a bright sunny afternoon down Piccadilly, near Green Park tube station, the sight of paintings hung on Victorian iron railings along the pavement beside the park makes an interesting spectacle. Artists and dealers ply their wares here throughout the summer as the fully laden, open-top, tourist buses pass by with passengers eager for souvenirs. For many it’s become an icon of London in the sunshine and provides the setting to A Stage Kindly’s and Knockhardy Productions’ new chamber musical drama, directed by Vik Sivalingam.

A cast of three with musical director Tom Turner on keys, bring life to Roberto Trippini’s book, which began as a comedy sketch in the late nineties before being expanded into a play and subsequently complimented with new songs by Lawrence Mark Wythe, which on the whole are pleasing despite having some very dodgy rhymes! A steady foundation of well-balanced music and narrative has been achieved here, the songs taking it forward in natural progression.

Eko (Amersackie Osakonor) a Nigerian artist of ‘Piccadilly and Green Park’ ekes out a living on the roadside by selling the churned-out canvasses he reluctantly paints for visitors. His heart is elsewhere and it’s of merit that the writer delves deep to give a good insight into his background, emotions, hopes and fears. Eko is a freedom fighter, yearning to return to his native country but unwilling to do so until the political climate is right. It’ll be sometime soon though, he hopes, and roll on the day. Neighbouring stallholder Dan is typically British, probably East London, swears a lot and sells commemorative china. Sean Keating takes the role sporting an England football shirt and is proudly patriotic, though not to excess. This is no BNP-style protest story, in fact the opening concentrates on the friendship that has developed between the pair. The boys joke about women and sex to while away the sun-filled hours. Lavinia (Kendra McMillan) is an American who happens to like art and chances upon Eko’s pictures, she offers him a commission but wants African-inspired paintings, not the tourist views of Big Ben or Buckingham Palace. This seems an unlikely scenario, but Eko is hoping to get more than just money for his troubles and doesn’t stop to consider her motives. Some interesting twists take the story in unexpected directions, providing plenty of scope for the songwriter and actors alike.

Each character is not quite what they seem. Having dual United States and UK citizenship is a clear advantage for McMillan as her character transpires. Having to change accents mid way through the act cannot be easy but she accomplishes this with flair. She also provides quality vocals both in solo and ensemble numbers. Particularly impressively during the title duet with Sean Keating toward the end, although her animated performance occasionally tended toward music hall during that number.

Interestingly, this piece does call culture’s perception of right and wrong into question. Without revealing too much, one is a law breaker yet the others give the aura of bullying oppressors, attempting to beat their prey into submission using the power that society has given them. The director illustrates this very well, using the cast to turn the tables as the story progresses with Lavinia becoming a convincing Tracy Barlow-esque figure.

An enjoyable and well-written offering in so far as it goes, but there is potential for more and sadly it ended just as it really got into full swing. Oh, and I must pop down to Piccadilly while the sun is still out.

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REVIEWED: 29/03/12
By Gareth Richardson @BargainTheatre

27th March - 15th April 2012
Etcetera Theatre, London, NW1.

FEATURE: THE MYSTERY OF EDWIN DROOD

During the bicentennial year of Charles Dickens’ birth it seems only fitting for it to be marked by the novel that encompassed his death: The Mystery Of Edwin Drood.

Rupert Holmes, encouraged by Joseph Papp, wrote the musical loosely based on Dickens’ unfinished tale through a mixture of pantomime and British music hall traditions, which gained momentum in the years following Dickens’ death.

Inspired by the novel’s ambiguous, non-existent, ending, Holmes created the first musical with multiple outcomes determined by the audience, a different resolution depending on who the murderer is…if there is one.

From the production team who brought you The Best Little Whorehouse In Texas and Children of Eden at the venue that housed The Hired Man and Ragtime comes the Drama Desk and Tony Award winning musical Drood.  The cast led by Natalie Day, Victoria Farley, Daniel Robinson and Corrie’s own Wendi Peters, will have to work extremely hard to quickly accommodate the audience’s choice each night making sure that every performance is never quite like the next, no matter how many times you attend.



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@BenVivianJones

11th April - 5th May 2012
The Landor Theatre, London, SW9. 


 

DUCHESS OF MALFI

Set in the Italian court of Malfi during the first decade of the sixteenth century, the Jacobean drama, loosely based on true events, was written by Englishman John Webster one hundred years later and performed to its first regular audience at the Globe Theatre shortly afterwards, falling in and out of fashion ever since.  I have only seen two prior productions, Stage on Screen at Greenwich Theatre in 2010 and ENO/Punchdrunk’s promenade the same year. The first, I viewed merely in preparation for the second.  I was stunned by the sheer power of this play at Greenwich, only to be subsequently disappointed by the latter.

An eerie atmosphere descends over the Old Vic during the opening scene.  Druid-like figures, bearing candelabra in the darkness, provide a guard of honour as we are introduced to the primary male characters. Bosola (Mark Bonnar), whose ‘corruption grew out of horse dung’ is soon reluctantly engaged by the unhinged Ferdinand (Harry Lloyd) to become his illicit agent.  The lustful Cardinal, played by Finbar Lynch, imposingly dressed in red. A dramatic blinding avenue of white light emphasising the Duchess’ pureness, spectacularly heralds the arrival of Eve Best in the title role.  Each drops their mask in a sign of strength and confidence, whereas they are in fact revealing their inner weaknesses.  I must admit, it took me a while to adjust to Webster’s distinguished poetic language, but the effort is worth investing.

Tom Bateman gives the virile Antonio a charming depth of passion, his dashing looks soon finding the Duchess’ attention.  A secret wedding, arranged in haste and without ceremony, is witnessed only by her maid and confidant Cariola, who some nine months later also becomes her midwife.  Apricots, it seems, were believed to induce labour; a tactic employed by the suspicious Bosola who sends word back to her brothers.  Beds are a favoured prop in this production, wheeled on and off stage with various occupants at an alarming rate.  There are many visual shocks; seeing a fully dressed cardinal vigorously astride his mistress is arguably amongst the most horrific!  Antonio meanwhile proves equally astonishing, providing two further offspring with remarkable speed as the family exile in Ancona before he and the eldest son flee to Milan.

The real drama begins as the brothers execute their spiteful revenge.  An impressively elaborate multi-levelled design of steps, bridges and platforms caters perfectly for the most famous Malfi scene, which director Jamie Lloyd superbly stages to great effect in this production.  Harry Lloyd gives a masterly portrayal as he returns to the Duchess in the dead of night, tormenting her witlessly after deceptively gaining his sister’s confidence.  What follows is one of the most gruesomely haunting theatrical sights as Borsola reveals the brothers’ horrific deeds.  Shock is heightened at the devilish sight of Ferdinand looking down on the fearfully pained Duchess from the back of the stage, hovering on high in viscious provocation.

With prospects bleak, Eve Best takes her portrayal of the ruined Duchess to an even greater level. She wrings every ounce of performance in the tense, gory action that follows, hard to describe further without spoiling the plot, but her display of writhing yet graceful agony as her character prepares to meet her fate is remarkable.

The deaths of many occur in quick succession, some more believable than others and a fault of the author that each is given a speech to deliver using their last breaths. This was the only part of the macabre tale that I found unconvincing, with a small sub-set of the cast over playing the drama. Mark Bonnar shines in this awesomely dark and violent tale though, with Bosola’s realisation of remorse, having had a hand in all the killings only to be betrayed by his malicious master.

Written some four hundred years ago but retaining much relevance today, the Old Vic’s Duchess Of Malfi is a bloody nightmare, superbly executed.

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REVIEWED: 24/03/12
By Gareth Richardson @BargainTheatre

Previews until 27th March
17th March - 9th June 2012
The Old Vic, London, SE1.

ASSASSINS

As a huge Sondheim fan, and in particular Assassins, I was both thrilled and concerned when I was asked to review this production. I saw Assassins in 2010 at The Union Theatre and did not think it could be bettered or matched, certainly not on the fringe and most definitely not so soon.  However, no need for concern as the two productions turned out to be very different interpretations. 

Sondheim is renowned for his musical plays, requiring strong actors and highly skilled musicians to successfully pull off any of his works.  Thankfully, the ensemble manage this with ease.

Notable mentions must go to Padraig Breathnach, for his wonderful energy and the intricate nuances he portrays as Guiseppe Zangara.  Johnjo Flynn, as Balladeer, gives his songs a lovely, jazz like sound making Sondheim seem almost effortless, which is no mean feat.  Brandon Force finds the humour of Charles Guiteau without overplaying it. He keeps the audience laughing, whilst maintaining Guiteau’s darker aspects with natural charm and comic timing.

Stand out performances go to Alexander Forsyth for his simple and honest portrayal of Leon Czolgosz, a part usually outshone, but Forsyth proves that sometimes vulnerability is what can make a performance great. Martin Dickinson as John Wilkes Booth, sings the role with maturity and skill. He is perfectly cast, displaying wonderful stage presence, and leads the ensemble as he cajoles the rest of the would - be assassins to “kill a president”.

Although accents on a couple of the actors do falter once or twice and some comedy scenes are a little on the forced side, detracting from the writing, these are minor flaws.

The set and costume design are fantastic; visually simple but impressive, a different class to other fringe productions.  David Elser and Gemma Veitch must take credit for the detail gone into each design aspect.

Choreography subtly shines in a small space, Chris Whittaker uses his ensemble to enhance the intricate songs and add to their dynamic, something I wasn’t expecting. 

Director Ray Rackham has delivered a wonderful production of Assassins, and one which I am sure will sell out, so I would advise you to book your tickets in advance. 

It seems that fringe theatre will not be backing down anytime soon as the place to see first class performances for a fraction of the cost.

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REVIEWED: 22/03/12

By Miss Sally Bowles

23rd March - 8th April 2012
Pleasance Theatre Islington, London, N7.