Reviews

The intonation, the booming voice, the musical delivery—Bob Kingdom’s performance is beautiful. With only a podium, a glass of water a chair and some simple lighting to help, Kingdom is as charming, captivating and pathetic as Thomas himself. Of course it’s all about the words; that extraordinary lyricism that was a smack in the face to the spare, adjective-free, skeletal verse of the early 20thCentury. Dylan Thomas adored language, swimming through his lexicon with unnatural grace.

Mention Sweeney Todd today and one automatically thinks of Sondheim’s brilliant masterpiece. One forgets that the story of a barber who cuts his customers throats and whose bodies end up in meat pies has been around for centuries. In fact fourteenth century France is reputedly the first time the tale was documented. The story became a staple of melodrama in late 18th century London, and this version by Brian J.

Director Tim Edwards has an obvious affection for Picasso at the Lapin Agile, this being the third time directing the show, and it is lovely to see such enthusiasm for a play.

Picasso at the Lapin Agile by well-known actor Steve Martin is about a theoretical evening at the Parisian artists' cafe The Lapin Agile early in the 1900s.

At first blush an epic opera stretching over four hours, with extended helpings of statically performed arias, sung against the background of  towering cold marble, might be one only for the purists.Yet this production of Don Carlos was filled with so many moments of spectacle and sweet singing that no prodding was needed to keep the eyelids open.