"This is not a heightened narrative or grandiose melodrama...'little scratch' will burrow under the skin, but only if you allow it to."
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"There is a worry that you may not be able to shake what you have experienced but then the amazement at what they have achieved sinks in and that is the only feeling left. A well-worded depiction of what is too often unspoken."
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"...it has the same imaginative appeal as a radio play – but enhanced by the inflection of every facial expression. It’s unflinchingly thought-provoking and will stay with you."
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" 'little scratch' is an outstanding adaptation of what must surely be an even more remarkable novel... Its writing is poignant and razor-sharp and its performances beautifully naturalistic, with an exemplary score."
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[little scratch] ably and thoughtfully explores the reality of survivors of trauma. The play ends on an ambiguous note, but the lack of resolution doesn’t feel frustrating – instead, it feels true and intimate.
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[The actors] throw themselves into the role emotionally, but don’t do a lot of body acting ... It would work almost as well on radio ... 'Little Scratch’ is a virtuoso articulation of a remarkable piece of writing.
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The attempt to bring that unnerving lack of quietness to the stage is strangely comforting. Amidst the cacophony, there’s an illuminating and unusual sense of beauty.
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To tackle a formally bold novel, Rebecca Watson’s recent little scratch, Mitchell and her adaptor, Miriam Battye, have fashioned something equally inventive that works perfectly in the small Downstairs space at the Hampstead.
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