Mark Lawson is a critic with The Guardian (UK). 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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The performance exposes problems with the script. The biggest ... is imbalance between narration and dramatisation. With strong jokes and jolts, Memic shows high promise but next time needs to go deeper and clearer from his jumping-off point. Full Review
Shaw’s one-act pieces How He Lied to Her Husband (1904), a farce about adultery in literary circles, and Overruled (1912), a comedy of polygamy, are here delightfully revived by Shavian specialist director Paul Miller. Full Review
for a previous production The finest collection of vintage gags on the London stage should allow the show to make a fair amount of what Del Boy calls “lovely jubbly”. But, as a musical, a few too many of the songs are, to borrow again from the Trotter lingo, plonkers. Full Review
for a previous production “The play becomes increasingly dependent on passages of charade, gymnastics, and acrobatics…But while reduction to dumbness is initially a resonant metaphor in a piece about censorship, the wordlessness is so prolonged that it becomes progressively less eloquent. At its strongest, the show suggests Pinter resurrected in Minsk. At its weakest, it feels like an uneasy attempt to stage an armistice between the opposing forces of text-based and physical theatre.” Full Review
Lloyd Malcolm daringly switches tone, from comic to manic, and jumbles time, so that, in Abigail Graham’s unnerving staging, we would be wary of swearing to events in court. Though only 60 minutes, the play is, dramatically and sociologically, a power hour. Full Review
Though finishing in the 1950s, Indecent throws shadows beyond ... Parallels may ... be seen with the current cultural conflict over what should be said and by whom. Indecent is a brainy play staged with the panache of a musical. Full Review
Director James Haddrell fascinatingly explores the dramatist’s middle distance by bringing together four of the 10 texts collected in a 1990 anthology, Caryl Churchill: Shorts....a celebration of the restless and prolific originality of a great dramatist. Full Review
for a previous production "'Fleabag' is a rare piece...The live show brings the extra pleasure of watching Waller-Bridge’s skill at goading and controlling the audience. She deliberately kills big laughs with transgressive details that draw appalled gasps or groans. Her physical and expressional versatility is even more impressive in the flesh, as she instantaneously creates charades...The character is a fascinatingly complex creation." Full Review
“A farce that requires some very complicated comedy staging and acting to go exactly right. It does...The show is thrillingly and daringly inventive...In a gymnastically enthusiastic cast that combines Mischief long-timers with newcomers, Lewis is outstanding...The sillier stretches of dialogue leave the show just short of ‘One Man two Guvnors’...This lung-bustingly funny play is just what the therapist ordered.” Full Review