Fiona Mountford

Fiona Mountford is a critic with The London Evening Standard. This account has been auto-generated, and does not indicate that this person is an active member of Show-Score.com. That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.

If you are this critic, please see the instructions on how to add reviews, update your profile, or make changes to your excerpts and scores.

Reviews (20)
Preview tf2
90
The London Evening Standard

for a previous production "The story is explosive but the storytelling itself is dynamite, as a seven-strong ensemble of former UCT drama students talk, sing, chant, dance, and stomp their way through 80 pulsating minutes of anger and sadness...The conversation of the energized student movement ranges far and wide...Throughout it all, the energy levels never falter in a production curated with confidence and spark...A valuable and vital piece of theatre." Full Review

Preview img 0119
80
The London Evening Standard

for a previous production "'Adolphus Tips' brims with the imagination and invention that we’ve come to expect from Kneehigh, blending a carefree, homespun sort of charm with top-notch ensemble playing...It’s played a little too much for laughs and the storytelling tends to the meandering, but what wins us round each time is the fact that the piece is brimful of heart. There’s sadness but also lots of hope. It’s Morpurgo’s specialty spell, and in Kneehigh, Rice and the Globe he has found fine accomplice magicians." Full Review

Preview mikel murfi thumbnail shoes
85
The London Evening Standard

for a previous production "Utilising a vivid, uniquely Irish gift for storytelling, Murfi magics up wonders from a bare stage, with just his words to help him...There are playful echoes of Beckett’s 'All That Fall' in the long walk and eccentric characters Pat encounters en route. Murfi embodies them all...with distinction. He’s blessed with an intensely vivacious face, capped by cherishably mobile eyebrows...A modern classic in the making, I’d say." Full Review

Preview mewd showscorevert
85
The London Evening Standard

for a previous production "For a supreme example of high-octane acting in a small space, try ‘My Eyes Went Dark,’ a flintily uncompromising two-hander…This piece also serves as a welcome reminder of the boundless potential of theatre…Our empathy is engaged by an astonishing performance from Jayasundera…It’s high-order work of astounding versatility; in a bigger theatre than this it would make waves and win awards…It’s some of the finest work I’ve had the pleasure to watch in a long time.” Full Review

Preview bggig
60
The London Evening Standard

for a previous production "Some impressive individual turns don’t quite manage to mesh all this into a compelling whole. Pryce is excellent, with a notable gravitas and richness of performance. There’s particularly lovely work from Dorothea Myer-Bennett as Nerissa...She offers a delicious range of expressive looks and gestures. I’m always struck by how mean 'Merchant' can be...This is a society with a skewed value system and we leave the Globe pondering this anew." Full Review

Preview sweeney
90
The London Evening Standard

for a previous production "What a show it is from director Bill Buckhurst, soaked in an atmosphere of thrilling intimacy which suits Stephen Sondheim’s musical so exquisitely...It’s a delight to watch the thought and confidence with which the actors possess every inch of the space...McCarthy shines as the enterprising pie mistress and Jeremy Secomb makes for a magnificently brooding Sweeney. Emma Thompson, soon to set up pie shop at the Coliseum, has some serious competition." Full Review

Preview henryiv
60
The London Evening Standard

for a previous production "We’re increasingly used to jazzed-up productions of Shakespeare nowadays, dominated by an overarching directorial conceit. Yet there is still a buoyant market for the other sort of approach, of stately productions in traditional dress, and that is what director Gregory Doran offers in this pairing for the Royal Shakespeare Company. It’s a fine line between stately and stagnant, however, and the brutal truth is that these productions look tired." Full Review

Preview quietly title author 352x500
90
The London Evening Standard

for a previous production "Sometimes it's the quietest pieces of theatre that make the greatest impact…A city’s legacy of hate, and possibility redemption, is distilled into this single encounter...McCafferty’s skill is to ground this edgy dialogue-across-the-divide in wonderfully plausible everyday mundanity. There’s a superbly triangulated relationship between Jimmy, Ian and Robert the Polish barman...Jimmy Fay’s production has a remarkable stillness to it." Full Review

Preview color purple
60
The London Evening Standard

for a previous production "The over-simplification made the self-empowerment appear reduced and the piece stubbornly refuses to coalesce into a meaningful, heft-packed whole...Time passes unspecifically and everyone drifts in and out of relationships. Perversely, the show requires stronger anchors than this in order to fly...It’s perfectly fine, but my feet remained unstamped." Full Review

Preview daddylonglegs resized
70
The London Evening Standard

for a previous production "It’s a neat idea, to turn Jean Webster’s 1912 young women’s classic into a tuneful two-hander, but the reliance on letters makes for an inherently static piece. The trouble is that the show takes few interesting detours en route; a failed math exam is about as high as the drama gets. Modern sensibilities will find Jerusha’s patron slightly creepy, especially the “Daddy” name she gives him. Yet that’s not the right slant to take and the creative team guides us carefully away from such thoughts." Full Review

Preview mikel murfi thumbnail shoes
95
The London Evening Standard

for a previous production "Here it is, pure distilled 100 per cent proof theatrical magic, conjured up by one man on one chair on an otherwise bare stage. The boundless power of words and storytelling to conjure worlds to involve and enchant an audience has rarely been so clearly demonstrated...Murfi is quite simply mesmerising in his engrossing evocation of this gentle world of vividly realised characters, not least his indomitable, irascible and warmly appealing wife." Full Review

Preview rotterdam showscorevert
85
The London Evening Standard

for a previous production "Brittain’s lively, sensitive, hard-hitting piece about love, gender and sexuality. Brittain handles complex issues with great honesty and thoughtfulness, but also with a refreshing amount of wit...Donnacadh O’Briain’s confident production maintains an ideal equilibrium between all elements in the writing. There’s much admirable, agonized work from Martine as Fiona/Adrian, but even better is McCarthy...A compelling evening’s theatre." Full Review

Preview ppt1 2
90
The London Evening Standard

for a previous production "Gough gives the greatest stage performance since Mark Rylance in 'Jerusalem'...Gruellingly honest...The arc of the character, and thus of Gough’s remarkable, truthful performance, is awe-inspiring and utterly convincing...A profoundly moving acceptance of flawed humanity. If all this sounds a little daunting, take heart: Macmillan’s lovely writing is never less than slyly humorous and Gough certainly knows how to deliver a funny line...It’s a supremely confident and well-oiled production." Full Review

Preview operationcrucibleposter
65
The London Evening Standard

for a previous production "A lot of shouting swiftly plays to diminishing returns and so it proves, frustratingly, in this promising new work...An excess of undifferentiated bellowing bedevils Bryony Shanahan’s try-too-hard production, pulling crucial focus from the narrative at key moments. When Shanahan allows the play to take a deep, calm breath and trust in Knowles’s words, as during the hugely affecting ending, it’s far more satisfying." Full Review

Preview velveteenrabbit
35
The London Evening Standard

for a previous production "One of the many reasons why 'The Velveteen Rabbit' has been a much-loved classic children’s book is the gentle anthropomorphic charm of its titular hero, the shy stuffed toy...The dispiriting thing about Purni Morell’s production is that this charm is almost entirely lacking...Precious alchemy is lost here. Instead Boy and bunny engage in pillow fights which, while superficially amusing, are hardly the point." Full Review

Preview viewbridge resized
90
The London Evening Standard

for a previous production "The problem with classic plays is that, in our minds at least, they can become cluttered and dusty, trailing after them into each revival the detritus of past productions. When this happens, it’s a case for Ivo van Hove...This radical rejuvenation of this over-familiar Arthur Miller drama takes up a deserved berth...This sleek, minimalist staging helps the production to feel as tightly, and inexorably, wound as a Greek tragedy." Full Review

Preview kc3180
85
The London Evening Standard

for a previous production "Bartlett writes for the most part in blank verse. It brings to mind Shakespeare’s history plays, but there are also echoes of 'Macbeth' and, increasingly and poignantly, 'Lear.' There are confident performances all round in Rupert Goold’s stylish production. This is undoubtedly one of the most stimulating plays of the year." Full Review

Preview producers v2 resized
100
The London Evening Standard

for a previous production "It’s one of the most uncompromising pieces of theatre I’ve ever seen, unbearably tough almost all the time...Farber and her performers are continuing along the trail blazed by the worldwide outcry that followed Nirbhaya’s violation. Proudly, they shatter the pervasive shame culture of silence that surrounds sexual violence against women." Full Review

Preview trash cuisine 326x3261 resized  1
40
The London Evening Standard

for a previous production "The overarching concept, a mad skit set in a Capital Punishment Café with its “dishes” of worldwide human rights abuses, is inadequate and the tenuous linking culinary metaphor swiftly gives up the fight. Violations interspersed with recipes — plus some injudiciously selected passages from Shakespeare — are a queasy-making mixture and there is much that’s bewildering." Full Review

Preview smallimagewidebobtuesdaysnew
40
The London Evening Standard

for a previous production "It's a wistful exploration of acceptance and identity but what it requires in performance are two qualities not easily associated with Callow's acting style, namely nuance and understatement...There are occasional shafts of true emotion but largely it's all surface show and mincing around." Full Review