Waiting For Godot Reviews

“Superb classic actors that are subtle and commanding, touching and funny, vulnerable and dignified” The Times

“A Godot worth waiting for” Daily Mail

“This double act is as deftly performed as you are ever likely to see. This is a chance to catch two veteran actors at the top of their game” Evening Standard

Simon Callow as Pozzo “Astonishing” Daily Express

“Unforgettable” The Observer

“Callow might have been born to play Pozzo” The Daily Telegraph

Donald Pickup’s Lucky is “wonderfully strange and affecting” The Sunday Times

“Had the audience bursting into spontaneous applause” Daily Express

Director Sean Mathias ensures “while the comedy is always there, the depth of meaning which the work examines is never lost amid the laughter” “The theatrical event of the year” Daily Express

“A world class cast. Sean Mathias’s production makes Beckett’s inaccessible play surprisingly approachable.” London Lite

Forbidden Broadway Reviews

Quotes from reviews of Broadway production:

“The show has a spit-polish gleam… I am still chuckling, days later!” – Time Out

“Intoxicatingly funny! You don’t have to be a theater addict to revel in this show.” – Daily News

“Side-splittingly funny! No show has given me more pleasure over the years. It’s my favorite show on earth” – New York Observer

“Gut-bustingly funny” – New York Post

Courtesy of www.menierchocolatefactory.com

Duet For One Reviews

Performances of overwhelming emotional power and conviction… the performance of a lifetime… a triumph Evening Standard

Duet for One bowled me over…Matthew Lloyd’s rich and nuanced production…is a noble and deeply moving piece of theatre. Stevenson…is superb…Henry Goodman creates a highly sympathetic, wise and comic character… a masterclass in fine acting Daily Telegraph

PROUD by John Stanley Reviews

For his 18th birthday party, boxing hopeful Lewis is looking forward to a night in with his boyfriend, his family and his homophobic trainer.

John Stanley’s new play represents a sterling attempt to marry farcical comedy with weightier themes.

Stanley writes in a wonderfully blunt comic style that admirably suits the comedy of manners that makes up most of the play. This tone dominates the work and problems arise when Stanley asks his audience to think much harder than any of his characters bother to.

Issues such as gay men in sports, Olympic aspirations and remembrance of the Admiral Duncan bombing dilute the focus and sit uncomfortably in the comic narrative established in the first act. Broad stereotypes exist here, but they are relatively believable and director Christian Durham keeps the pace up and brings this selection of oddball characters to life.

The casting is excellent and centres on a remarkably realistic performance from Jay Brown as the spoiled, buff 2012 hopeful Lewis. His lover, 20 years his senior, is thoughtfully portrayed by Nic Gilder.

Timothy Dodd puts in a super slimy turn as Lewis’ sports trainer and Emma Swinn gets most of the more sophisticated one-liners as Ally. Anna Lindup plays the outrageously doting working-class mother to great effect and Shana Swash is the put-upon sister charmingly underplayed but woefully under-written.

There is enough raw-material in Proud to make for a fun evening at this burgeoning new venue. With more work, it could become a thought-provoking and provocative evening too.  Paul Vale

Spring Awakening Reviews

The Daily Telegraph

“Here it is at last, the answer to one’s prayers – a new musical bursting with ambition and achievement…”

The Independent

“Freshness, attack and sheer lyrical beauty…”

Daily Express

“A must-see not just for hormonal adolescents, but for anyone who has ever been one….”


“An absolute must-see and by far the best new musical in London for ages…”


“It’s breathtakingly, outrageously brilliant…”

Sunday Express

“This is the most exciting musical I’ve seen in years…”


“Smart, sharp, sexy fun…”


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Oliver! The Musical Reviews

Oliver! Sets the West End alight Sunday Telegraph

The triumphant opening of Lionel Bart’s Oliver! is a glorious reminder of just how life-enhancing a musical can be Daily Telegraph

Blast away all those recession cobwebs. Anyone who needs cheering up should get along to Drury Lane sharpish and catch this humdinger of a night Daily Mail

What extraordinary excitement Lionel Bart’s Oliver! still stirs. A smash hit Evening Standard

Fresh, exuberant and spiritually full of beans. A little bit scary, a lot of fun, a rip-roaring success Independent on Sunday

Rowan Atkinson is an astonishing Fagin in this big thumping musical hit Sunday Express

Uplifting stuff. Jodie Prenger is terrific, great, earthy and warm. You’ll love it Sunday Times

A blistering hubbub of colour, crime, love and adventure. You’ve got to pick a pocket or two for this astounding show London Lite

The finest production I’ve ever seen on the West End stage. Beg, borrow, or steal a ticket – it’s worth it! Terry Wogan, BBC Radio 2

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Oliver! Opens to Sensational Reviews

The Telegraph calls it “a cracking night of tuneful entertainment” and the Daily Mail raves about “this humdinger of a night”.

Cameron Mackintosh’s new staging of Lionel Bart’s masterpiece OLIVER!, one of the most beloved of British musicals, vividly brings to life Dickens’ timeless characters with its ever popular story of the boy who asked for more.

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Mamma Mia! Reviews

“It is 25 years ago to the night since Abba won the Eurovision song contest and it is part of the cheekiness of Mamma Mia! that Waterloo is the one song you keep expecting to hear but never do. Practically every other Abba hit is here. And like the songs, the evening is catchy, enjoyable, melodic but overall a bit bland… Part of the fun is in guessing in which order the songs will pop up and in admiring the ingenuity of the book’s author, Catherine Johnson, in bending the scenario to the lyrics, although even she seems flummoxed by what to do with Supertrooper and Dancing Queen. It’s an immensely good-humoured affair with the feelgood factor of a brief Greek island holiday, and its greatest strength is in sending up its own naffness. “Why have they all turned up? It’s like some horrible trick of fate,’ observes Siobhan McCarthy’s Donna on the arrival of her former lovers. ‘It’s very Greek,’ replies her friend Rosie. It’s pretty good too on the hairdrier- and hairbrush-as-microphone joke. But it is far naffer than it thinks it is, and although Phyllida Lloyd’s production and Mark Thompson’s design provide value-added class, they are slightly at odds with the emotional tug of the piece, which is more seventies disco than nineties cool and which often mistakes the emotional pull of melody for the real thing. It is a rare moment when situation, music and lyric come together…” The Guardian

“…This is no throwback concert or weak-kneed compilation. The lovely surprise of a thoroughly enjoyable new musical with two dozen old Abba songs is a proper story which exploits the jangling, nostalgic score to great effect… The songs of Benny Andersson and Bjorn Ulvaeus are linked to dramatic scenes and encounters neatly devised by the playwright Catherine Johnson. Phyllida Lloyd’s production is far happier than previous attempts to hijack the pop music of, say, the Kinks, or even Madness, to the musical stage. Much as I quite like Abba’s carefully-crafted, anthemic songs – I’ve discoed bravely to Dancing Queen in my time, like the rest of you – they do have a branded, poppy sameness about them. But we can now relish their calculated melody, up-front beat and surging tingle factor… Miss McCarthy sings her heart out and brings amazing expressive range to the lyrics. A comparatively unknown song such as Slipping Through My Fingers becomes a poignant mother and daughter duet. The time is today, with a shadow of the past flitting across designer Mark Thompson’s white Greek walls and deep blue sky, where a fishing boat named Waterloo lurks nearby. Lisa Stokke and Andrew Langtree are fresh and delightful as the kids on the brink. The nostalgia factor rises in Anthony van Laast’s Mediterranean jive choreography. And watch out for Jenny Galloway and Louise Plowright as Donna’s old friends from the rock era. Those girls not only mean business. They deliver it, no messing.” The Daily Mail

“…What makes the musical – a tacky but ridiculously enjoyable wallow in some of the most mind-bending songs ever recorded – is the cheek with which each number is cued up. An actor only has to say: “Here I go again” or: “I don’t want to talk” and the whole cast is off on yet another Number One record, the audience whooping with recognition even before the orchestra kicks in… Mostly this is camp tosh with terrible jokes… The songs never stop and Catherine Johnson’s book linking them up is quite shameless. Still, it works and Abba fans will go berserk for it. So take a chance on me and go for a laugh.” The Express

“Thank you for the musical. Mamma Mia! is heaven for Abba fans and a bit of fun for everyone… The show does not pretend to be anything other than a collection of the Swedish super group’s old hits. A wedding on a Greek island for a girl who was the product of a holiday romance provides the backdrop. But it is just a flimsy excuse to sing together a selection of songs that topped the charts back in the 70s… Every corny cue for a song was greeted by cheers and applause… The blushing bride to be, who sets out to find which of her mother’s three former lovers is her dad, is sweetly played by Lisa Stokke. Siobhan McCarthy is wonderful as her feisty mum and comes close to stopping the show belting out Winner Takes It All. It is funny and feel-good and keeps its tongue firmly in its cheek. The hits come thick and fast and no frills are necessary… Thank you for the music. Thank you for the musical…” The Mirror

“Even between consenting adults, there are certain predilections to which one does not lightly confess. In my case, a fondness for Shirley Temple’s movies is one such. Now it is joined – herewith vanishes my social life – by the fact that I actually enjoyed Mamma Mia!, the new musical based on the Abba songs of the 1970s. People have been ostracised for less, and many of my heretofore dearest friends will cast stones at me. Still, the charm of Mamma Mia! is not inconsiderable. Not least the music, which has an effusive innocence and open-hearted exuberance almost extinct in the modern musical. Real pop music of this sort is so much more appealing, so much less pretentious, so much more suitable for infectious theatrical entertainment than the tawdry bombast of most Lloyd Webber and all Boublil-Schonberg. Abba’s music (music and lyrics by Benny Andersson and Björn Ulvaeus) has certainly been overrated; but – and I speak as one who turned away from pop music in my early teens in 1970 – Mamma Mia! proves that Abba have been underrated, too. Songs like “Dancing Queen” and “Just One Look” burst upon your senses, sweet and instantly sensational. The show’s makers ironise about these Abba songs right, left and centre. Every other time a character starts to sing one of the famous numbers, the timing is so shameless that the audience chortles. But not for long. Even when the staging goes deliberately retro and evokes Abba’s old costumes and makes a Big Number out of something like (say) “Super Trouper”, something big and simple rises through the thick fabric of the music and transcends the archness and campness of the situation… Part of the fun turns out to be the sheer suspense of finding how on earth 22 Abba songs can fit into all this; but nine out of 10 do. Catherine Johnson has given the story just enough emotional depth and dramatic variety to hold the attention, and just enough transparency to suit the songs. And, yes, irony. Admittedly, the most exuberant occur in Act One; and Act Two ends very low-key. But then, like Saturday Night Fever, when the plot is over, the show enters its own 1970s pop nirvana and explodes into one hit reprise after another… As for the staging, its best features are Mark Thompson’s simple and flexible sets, and the central performance of Siobhán McCarthy as Donna, bringing the same ardent naturalness to both singing and her role… Phyllida Lloyd and her choreographer, Anthony van Laast, elicit generally good performances all round. Jenny Galloway and Louise Plowright make much of their roles as Donna’s old girlfriends. You shouldn’t take Mamma Mia! seriously: which is precisely why it proves to be one of the few good musicals on the London stage today.” The Financial Times

“…By the standards, though, of those K-Tel compilation West End musicals, Catherine Johnson’s book does a nifty integration job with an original plot involving a young girl on the verge of mat marriage and her relationship with her mother when she discovers that any one of three men could have fathered her. The real drama, however, is less between the characters on stage than between the audience of fans and the music. A defiantly camp note is struck from the opening announcement: “We’d like to warn people of a nervous disposition that platform boots and white Lycra will be worn in this production.” The show proceeds as though the fans have generously donated the songs to it for the evening and will sit there ready to exult at each deliriously outrageous way the makers engineer the next opportunity for a ditty… The island setting allows for camp underwater dream sequences of a Jacques Cousteau- meets- Esther Williams variety. But there are also moments of heartfelt feeling as when McCarthy helps the daughter dress for her nuptials and sings, in pulsing voice, “Slipping Through My Fingers”, here a lovely lament for the way one’s children continually elude one until they finally leave. Phyllida Lloyd’s handsome production generates a terrific mood of airborne silliness and the songs, a curious mix of the buoyant and the haunting, are genuine golden oldies. Abba is pop’s pithiest palindrome and, whichever way you read it, Mamma Mia! looks like being a hit.” The Independent

There is a very clever irony about how they’ve worked hit after hit into a hilarious story. I really didn’t realise how much I loved ABBA’s music until I saw this show.” Chris Tarrant, Capital Radio

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The 39 Steps Media Reviews

John Buchan’s gripping whodunit – memorably filmed by Alfred Hitchcock in 1935 – has at last been thrillingly adapted for the stage. This hilarious brand new version is performed by four actors playing a minimum of 150 roles and transfers to the West End after a sensational sell-out run at the Tricycle Theatre.

Nothing has been cut from spectacular premiere of Britain’s most spellbinding thriller – the legendary scenes include the chase on the Flying Scotsman, the escape on the Forth Bridge, the first theatrical bi-plane crash ever staged and the death defying finale in the London Palladium!

It’s the most astonishing theatrical tour de force of the year. Book now to avoid incredible disappointment.

All in all, ‘The 39 Steps’ was the best thing that I’ve seen at the Theatre Royal this year
BBC North Yorkshire – Read review

A thoroughly enjoyable production that both mocks and celebrates the spy genre

Onstage ScotlandRead review



A bally good show, by Jove!
South Wales EchoRead review
Spoof spy thriller roles into town: interview with producer Edward Snape
South Wales EchoRead review
Steps in the right direction
South Wales ArgusRead review
39 Steps to Heaven
Richmond and Twickenham TimesRead review
There aren’t many better ways to spend 100 minutes of your life than watching this
Living in SurreyRead review
Spies, music hall and shadow puppets combine to make this a memorable night out
BBC NottinghamRead review
Spies, Blonde and a Guy Go North by Northwest
New York TimesRead review
Wonderful show…
BBC NorthamptonshireRead review
Wonderfully inventive
The Argus, BrightonRead review
Now that’s what I call a triumph
The Herald & Post NorthamptonshireRead review
Winner Best New Comedy
Whatsonstage Award 2007
“Clever, very funny, imaginative and brilliantly acted”
The Guardian
“A dizzy theatrical game played with wit and versatility” * * * *
The Times
“Hugely entertaining… . Clever, witty, ingenious” * * * *
Sunday Times
“Dizzyingly entertaining show”
Daily Telegraph
“A wonderful triumph of theatre”
BBC Radio 4
“Rollicking fun”
The Times
“A joyous version of the Hitchcock classic. * * * *”
Sunday Times
“Just the ticket”
Evening Standard
“What the West End has been waiting for”
The Observer
“Hilarious. * * * *”
Sunday Express