Reviews

The raked seating of the Reginald Theatre is mirrored by a similar rake of red plush seating. Red and black cinema style carpet stretches up steps to an aisle. Above it, in a high, dark-curtained wall are the windows of the projection box of The Flick, a cinema in Worcester, Massachusetts. Both theatre and cinema black out simultaneously. Loud music heralds the credits of a movie. Lights come up on the empty cinema, littered with spilt popcorn.

With Les Mamelles de Tirésias Lyric Opera have continued their practice of performing obscure works. Written at the end of the World War II, this surreal opera features Therese, the title character, railing against being a woman. So she discards her breasts (balloons) and goes into the world in search of a more fulfilling life.

Her husband takes on the female role and decides to have babies – thousands of them! The moral of the story was that, at the end of the war, France was to populate or perish.

It was a delightful romp.

‘Tis a pity Debra Oswald has stopped writing for the stage, because, despite the success of her TV, film and more recently her novels, the characters she created for the theatre have an authenticity that gives directors, actors and audiences much to think about and much to love. They are enduring and the issues they face transcend generations.

Communicating Doors is Alan Ayckbourn meets Doctor Who on speed.

The premise of the story is simple, but the plot convoluted. Reece, an elderly man, has summoned Poopay, a Dominatrix, to witness the murder confession of his previous two wives. Poopay then travels back 20 years to meet Ruella, Reece’s second wife. Ruella then travels back to meet Jessica, Reece’s first wife. From then on, a number of people time travel back and forward to prevent the two murders.