Marianka Swain is a critic with Ham&High Broadway. 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.
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Fiennes ... beautifully honours the spirit of the text, which poses questions rather than forcing answers. This isn’t a show where you can sit back and let the entertainment come to you; it’s one that leaves room for you to find your own reading. Full Review
Euphoric gig-theatre... Cora Bissett recalls the highs andThough the broad shape of this tale is familiar, Bissett’s gig-theatre approach lends it a raw authenticity and engaging confessional quality.' Full Review
...the best moment of the evening is the encore medley of hits, when the show throws off the shackles of traditional narrative and instead lets the whole ensemble cut loose, interact with the band, and invite the audience to join in. Full Review
for a previous production A jazz-hot musical revue. Dancing, singing and plenty of swinging in this joyful tribute to Fats Waller...Huntley and Mabuse build in telling character moments to keep the songs compelling.' Full Review
for a previous production "French playwright Florian Zeller returns, with another compelling puzzle box of a play - the only thing definite about it being the trademark definite article in the title." Full Review
for a previous production "Murfi’s 75-minute one-man show is unashamedly nostalgic and sentimental...However, his physical versatility, ear for idiosyncratic, often poetic turns of phrase, and storyteller’s effortless command mightily impresses. Pat is intelligent, humorous, and articulate...Murfi is an astute observer of the region’s intersecting superstition and earthy common sense...It’s a persuasive argument for not overlooking those society pushes to the margins. A real gem." Full Review
for a previous production "Jonathan Munby’s electrifying production begins in classic horror territory, our devil in orange jumpsuit shackled to the floor – until de Kock himself references Silence Of The Lambs with wry irony...It’s a searingly intelligent study of a society struggling to heal, placing collective responsibility and reciprocal clemency against an endless cycle of recrimination. Yet Gobodo-Madikizela is adamant that “forgiveness is not forgetting.”" Full Review
This isn’t a radical revamp, nor does the core Frozen audience want one. But, even if it plays it safe, Michael Grandage’s handsomely mounted show is still an impressive, twinkling spectacle with a sincere drama at its heart. Full Review
All contribute to a lavish if somewhat muddled and inescapably old-fashioned revival – sure to succeed commercially via the nostalgic power of Poppins, but, unlike its titular nanny, never quite taking flight. Full Review
The castanet-and-guitar-heavy, Spanish-inflected music is put across with great relish by the ENO Orchestra...there are some striking visuals...But, overall, this is really only one for the musical theatre completists. Full Review
for a previous production [The] greatest hits should satisfy the Tina superfans, but there’s an unresolved tension here between producing a genuinely satisfying musical drama, and just surrendering to a great night out. This mould-breaking artist deserves more. Full Review
for a previous production “Teevan has created an extraordinary showcase for the chameleon like Kathryn Hunter...Hunter embodies a dozen of Selassie’s loyal flunkeys, magically switching between them...Her consummate skill is matched by that of krar-strumming musician Zeleke...Meierjohann wisely keeps the staging relatively stark and simple, drawing us into the spellbinding storytelling. A fascinating behind-the-scenes glimpse of absolute power, and a human take on a resonant history lesson.” Full Review
for a previous production "Macmillan’s script is almost as prickly as its sardonic lead...The metaphors are sometimes overegged, but Gough’s raw delivery ensures Macmillan’s discourse has a visceral immediacy. She makes Emma’s articulate nihilism persuasive and simultaneously obnoxiously self-indulgent. Crucially, Gough fully earns our investment in her emotional journey, through trauma, grief and the day-by-day process of healing, by never openly courting it. Fearless, unflinching, and unforgettable." Full Review