Reviews

What a joy to catch up with an inspired stage production of this 1960s literary classic! It’s a devilishly difficult play to bring off, but with an ingenious set, a committed cast (all but one of whom played multiple roles) and Gregory Rowbotham’s masterful direction, this team succeeded in spades. The WW2 flight squadron of crazies portrays an uncomfortable parallel with events in more recent US wars. Seems you don’t have to be mentally unstable to go to war, but it helps.

Nosferatu meets cabaret meets Oxford Street drag show, in a deliciousy integrated night of dinner theatre. Screams of shock and squeals of laughter begin in the vestibule. But I won't spoil that! The ghoulish glam of the hostess and Rocky Horror reminiscent waiting staff establish the mood from the outset. Performers double as waiters and bar staff, or do I mean the reverse. Not an unusual occupational doubling, you may say, but terrifically integrated and atmospherically effective.

Bold, engaging and at times verbally graphic, this work by writer Tom Holloway and director Matthew Lutton discusses the human elements of love, parent-child relationships, fears and sacrifice. Inspired by Euripides’ Iphigenia in Aulis this play follows a mother/wife, father/fireman, policeman and two human narrative agents. The main characters explore their inner thoughts about domesticity, relationships, gender roles and animalistic intentions.

Alan Bennett's play, Habeas Corpus, is not the normal run-of-the-mill comedy. Plagued by vertically-challenged trousers, disappearing breasts, and pompous doctors, the Malanda Theatre Company's first production for 2010 is a farce with intellectual undercurrents. Acted on the simplest of sets - three chairs and a vacuum cleaner - the play is a fast-moving feast consisting of poetry, song and good comedy acting. Howard Smith, complete with the obligatory deep, reassuring doctor's voice, excels as the frustrated Dr. Wicksteed.