PAUL DONOVAN is chilled by the contemporary resonance of Harper Lee’s coming of age tale amidst racism and white supremacy in this excellent production
OFTEN described as a “memory” play, Tennessee Williams locates the action of The Glass Menagerie in Saint Louis on the eve of WWII.
But in director Ellen McDougall’s revival, the temporal context has been removed to demonstrate the universality of the play’s themes, with the action contained within an empty black box nestling over a trench of water.
The dysfunctional family in Williams’s play are thus isolated from the rest of society, while the suggestiveness of the staging symbolises their stagnation, with the stark design and unforgiving lighting drawing the audience close to the action and the tensions between the characters.
MARY CONWAY applauds the timely revival of Miller’s study of people fatally deformed by the economics of survival
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
MARY CONWAY applauds the success of Beth Steel’s bitter-sweet state-of-the-nation play


