"Some of the script meanders in places but it finds its feet in the end. Arguably that is part of its freewheeling charm. It still packs an urgent punch regardless."
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“This is effectively two monologues spliced together, with audience interaction and supplementary characters summoned by anecdotes....But one of the great things about ‘Death of England’ is how nimbly responsive it’s been, to contemporary events and to professional setbacks. The alchemy that Duncan-Brewster and Squires have cooked up together in a week marks a fitting end to a uniquely unlucky, uniquely brilliant piece of theatre.”
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“...‘Closing Time’ unsurpisingly lacks the razor-sharp insights into femininity that its predecessors had into masculinity.”
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“The women are ultimately slightly generic yet lovable. Love, in the end, is the point...You can’t help but be moved as they walk into the future together, hand in hand.”
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“The writing, though, isn’t quite as taut; over the course of more than two and a half hours, the evening drifts. Yet the moments when the two women alternate between suspicion and hard-won friendship make it worthwhile.”
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“The first half feels slightly too long, but then the narrative twists and grips, pushing forwards to a conclusion that is tentatively optimistic.”
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“With that comes a reminder that multicultural England demands multiple viewpoints, and that it is both the job and the joy of the theatre to give those perspectives pride of place, for which achievement ‘Death of England’ deserve a bow.”
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“This final instalment is the most flawed, but the ‘Death of England’ project has proved a mighty, rapid-response record of an explosive period. It almost seems fitting that there should be some turbulence in its conclusion – and kudos to Duncan-Brewster for her valiant last-minute save.”
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