MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
The Night Watch
Royal Exchange, Manchester
4/5
HATTIE NAYLOR’S fine adaption of Sarah Waters’s acclaimed novel The Night Watch has very sensibly focused on its four core characters, Kay, Helen, Julia and Duncan.
It’s 1947 and the war has ended but a stifling pall of destruction and inertia hangs over London.
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
PETER MASON applauds a stage version of Le Carre’s novel that questions what ordinary people have to gain from high-level governmental spying
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
PAUL FOLEY welcomes a dramatic account of the men and women involved in the pivotal moment of the 5th Pan African Congress


