Michael Holland

“Carnation revolution – and Italians favouring Bella Ciao . It's been explosive to the point of damn near creating a riot. But on its opening night at the Dorfmann Theatre, the play’s final provocation left Londoners rather shy.”

“She is frighteningly fearless. You can't take your eyes off her.”

“But the production as a whole is easier to admire than to feel: intellectually alive, only fitfully moving, and, for all its ambition, never quite captivating.”

“Philip Breen’s direction works wonders with Ayckbourn’s script that has us watching two couples living their parallel lives at the same time, overlapping in a real-life Venn diagram.”

“The illusions were magical, the tricks made you shake your head in wonderment, the non-stop action had you looking up, down, in the shadows, in the private boxes, and in the aisles, because the action was not just happening on the stage.”

“It’s funny, inventive, technically slick, and emotionally overwhelming, a production that invites audiences to laugh loudly before quietly breaking their hearts.”

“Sandra Oh commands the stage as the misanthrope.”

“This is a bold revival of a modern classic, even if it never quite capitalises on the opportunities presented by its central concept.”

“The War Horse phenomenon has been boosted by the incredible puppetry by Handspring Theatre, which has to be seen to be believed.”

“It is the perfect family show. It's a winner.”

“For fans of Sondheim musicals, this production of Into The Woods would certainly be one to go and see.”