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for a previous production "Rourke’s superbly paced production and Graham’s dancing wit keep audiences riveted to a provocative exploration of everyday technology that we take for granted. Theirs is a killer combo, creating a theatrically sophisticated and unusually inclusive approach to deeply researched, sharply structured material that’s as fascinating as it is unnerving…Graham is far too smart to posit easy answers but the questions he asks are startlingly acute and urgent." Full Review
for a previous production "The fiercely intelligent result is like 'The Tudors' rewritten by Aaron Sorkin with added ruthlessness...There are a few flaccid passages that could do with trimming but, for the most part the stakes remain high and audiences engaged by the interstices of plots and counterplots too embroiled to enumerate here...The entire Stratford-upon-Avon run, sold out prior to opening, has met with rave local reviews." Full Review
It’s high-spirited, up front and out there. Unfortunately...Tara Overfield-Wilkinson sets that as the abiding tone in an over-deliberate production that tries so hard to please that it’s enervating to watch.' Full Review
for a previous production "Two trajectories determine 'A Streetcar Named Desire': the tragic arc of Gillian Anderson’s remarkably vivid Blanche, and that of the near-permanently revolving set...You sense the two are somewhat at war...What’s missing is centripetal energy, the inward force that would focus audiences on dramatic details. A great production makes audiences feel complicit; here, we’re merely impressed voyeurs." Full Review
for a previous production "Mike Bartlett’s 'King Charles III' has what sounds like an ideal formal device up his sleeve. He has written this self-styled “future history play” in blank verse, thereby echoing Shakespeare’s history plays about past kings. Too bad, therefore, that his execution and Rupert Goold’s production are only fitfully as strong as the play’s headline-grabbing concept...A plodding approach to exposition — all talk, no action — and overly explanatory dialogue bedevils much of the lengthy and slack fi... Full Review
for a previous production "Since soullessness is the essence of Patrick Bateman, you could argue that an all-style-and-no-substance musical version might possibly be appropriate. And helmer Rupert Goold and his design team certainly capture the high-veneer ’80s style that Bateman so worships. But beneath the highly polished surface there’s little drama or, crucially, danger. In a serial-killer thriller, that’s not just a problem, it’s an indictment." Full Review
for a previous production "Confession: I’m a sucker for a romantic reunion. When lost-presumed-dead twins Sebastian and Viola rediscover one another alive at the end of 'Twelfth Night,' you’ll find me in tears. All of which makes me more than well-matched for the musical-theatre version of the romance 'Daddy Long Legs.' Dear Reader, I remained dry-eyed." Full Review