Stepping Out Theatre in Association with Partisan and
Fallen Angel Theatre Company A new musical adaptation by Alex Loveless Directed by Chris Loveless New Wimbledon Studio |
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New Wimbledon Studio Tue 2 – Sat 27 Sep Tue – Sat 7.30pm, Thu & Sat 2.30pm Tickets £15.40 (concessions available) Prices include booking fees Box Office 0844 871 7646 www.atgtickets.com/wimbledon |
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REVIEWS MARK SHENTON for THE STAGE BRITISH THEATRE
GUIDE Based on the Thomas Hardy novel of the same
name, Tess of the D’Urbervilles tells of the story of a girl who becomes
tainted for life due to the actions of one unrepentant man. Full of moral arguments, the
book is a weighty read with an overall melancholic tone. The story, however, is captivating and many of the
issues it raises regarding attitudes to sex, gender and religion are still pertinent
today. This is perhaps why it makes for such an emotive musical. With a talented ensemble of actor musicians and a
potent mixture of folk, opera and traditional musical theatre techniques, the music rises
and falls, perfectly blending Tess and Angel’s love story with the much darker set
pieces. Jessica Daley creates a stubborn, troubled, proud
and extremely likeable Tess. Her rendition of "I saw your face" is heartfelt and
moving, contrasting well with the waltz of distrust that is "Forbidden Fruit"
with Martin Neely as the cold Alec D’Urberville. The pastoral scenes are represented through
ensemble songs, such as "Children of the Earth", that cleverly change tone as
the piece develops. The wide-eyed innocence of the opening song is soon replaced by
"The Belly of the Beast", although the comical "Will You Marry Me" is
light relief, performed with good comic timing. There is great depth to this production with
lyrics that are poetic and yet not overly melodramatic. The small cast interact
brilliantly and, although the stage is full, excellent direction from Chris Loveless
ensures that it is never crowded. Movement is interwoven and, although there are few dance
routines as such, the cast are constantly on the move reflecting Tess’s swirling
emotions. …this is a musically stunning production with
haunting songs and strong direction. …I do hope that there is a great future life for
this musical which deserves a bigger stage and to be seen by a wider audience. Congratulations to Alex Loveless (book, music and
lyrics) for encapsulating such a classic book in a beautiful musical. LONDON THEATRE 1 ***** …
I was concerned that a classic literary masterpiece by Hardy would have its dramatic
meaning with the introduction of music diluted along with the potency and empathy of this
piece. However I need not have been concerned, this in itself is a dramatic triumph. The
whole cast support and complement each other bringing their individual talents to create
the perfect ensemble. The
beautiful voices and instrument playing by the cast, which did remind me of the musical
“Once”, along with the simple but extremely clever staging and lighting, gave
you the depth of the piece I was looking for. Tess
(Jessica Daley) and Alec’s (Martin Neely) wonderful duet “Forbidden Fruit”
with its dramatic red lighting and matador-like theme was an absolute delight showing the
darkness of what was to come. Angel (Nick Hayes) perfectly cast, as was everyone, was both
enchanting and captivating. His duet with Tess “I Deal in Deals” was vocally
stunning by both. The
song “Will You Marry Me” performed by Izz (Sarah Kate Howarth), Marian (Jessica
Millward) and Retty (Emma Harold) was perfect in its simplicity and showed their clear
vocal talents in all their glory. During the confessions song (The Folly of my Youth)
which gave me goose-bumps, was so well sung and acted you felt their pain and
disappointment. The
second act brought more delights in the form of pulsating rhythmic drums, rustic charms
and English folk music themes. You witness Tess developing into adulthood and by doing the
right thing by her parents to “claim her kin” actually orchestrate her ultimate
devastating demise. When she makes the decision to punish Alec to avenge her loss of
innocence, the use of such creative yet simple lighting along with her outstanding acting
is a wonder to watch. This
show was an absolute joy to watch and more than worthy of a place on a larger stage or at
the very least playing to larger audiences and dare I say it should be seen on a
A YOUNGER
THEATRE Created
by Alex Loveless (also known for Bel-Ami and Remains of the Day),
the show is a strong creation led by a strong cast – and both contribute to a
wonderful evening of storytelling. The
original story is such a fraught, dramatic one that I was worried that Hardy’s story
might be diluted, but I needn’t have. The score is a mixture of styles, with many
songs enhancing the dramatic narrative and relationships perfectly. Accompanied by a
chorus of very talented actor-musicians, the songs range in styles from slight folk
numbers, mixed with elements of tango, slightly rocky chords and the essential torch
numbers. Highlights
of the evening included Alec (Martin Neely) and Tess’ (Jessica Daley) duet
‘Forbidden Fruit’ which sees the two negotiate their relationship, as well as
‘Will You Marry Me’ – a comedic plea from the young farm hands to Angel
(Nick Hayes). Whilst all of the evening was beautifully sung, the strongest relationships
vocally were those of Daley and Hayes – their acting too, performing the wonderful
lyrics perfectly. The
supporting cast, including many A
clever set design by David Shields, and the foreshadowing lighting design by Phil Spencer
Hunter combine to pull the evening along nicely, as well as Chris Loveless’ direction
of a small but incredibly talented company. This beautiful new musical deserves a home on
a bigger stage: it has a perfect blend of a new score, great book, talented cast and
winning direction.
BROADWAY
WORLD Wisely, the production is almost entirely
sung-through - the rural idyll of Children of the Earth; the selfishness of Alec's
Forbidden Fruit, tempting Tess with strawberries and the promise of a better life; and the
milkmaids' clever and funny plea to Angel, Will You Marry Me - are superbly conceived and
realised. Jessica Daley… sings beautifully and
captures the hideous dilemmas the mores of the time forces upon her. Nick Hayes
looked angelic as Angel and carried off his remorse on his return from …there is so much to admire in this
production… the fusion of the Victorian Novel and Musical Theatre is remarkable. It
may not quite be Les Mis, but it's not so very far away, and that's thrilling enough for
me! MUSICAL THEATRE
REVIEW …it
is great to have original musicals by talented young writers such as Alex Loveless
and independent companies like Stepping Out Theatre Company (in association with
Partisan and Fallen Angel Theatre)… The
stylised yet minimalistic designs are by David Shields, the handsome period costumes
are by Penn O’Gara, while Chris Loveless – who has previously staged
musicals by Alex Bel Ami at the Charing Cross Theatre and Remains of the Day
at the Union – provides the clever direction (this is the fourth large scale
musical that the brothers Loveless have worked on together). The cast here is no less than
superb, especially the two leads. Lovely
Jessica Daley, fresh from her Martin
Neely makes a believable villain as Alec D’Urberville, while the rest of the
cast – sometimes playing several parts and doubling as
musicians (a device which is at times over-used but which works wonders
here) – stresses the intimacy and sense of community among the villagers. Boasting
a charming score… a welcome addition to the roster of new British book musicals. Having studied Tess of
the D’Urbevilles some years ago, I was intrigued by the idea of the adaptation of the
Hardy novel to a musical version. Delightedly, I am pleased to say that it worked on every
level. …an exciting and
accessible production which can be enjoyed by those who know the novel and those who are
new to it. The pace of the scenes does not lose momentum, ensuring the audience are
involved throughout. David Shield’s
set, minimalistic in design, with black and white scenery, evokes not only the openness of
the countryside but also the bleakness of The play opens with a
lively prologue sung superbly by drunk John Durbeyfield, played by Marc Geoffrey, who
captures the essence of this poor peddler. At once the scene switches to the May dance on
the village green. This is a delightful interlude where the ensemble plays the roles of
the villagers and sings with gusto. Performing to Children of the Earth, the small studio
is transformed and the mood set for an enjoyable matinee. The energy and
enthusiasm of the ensemble is infectious. Between them they play 20 instruments and their
musical talent is undeniable. Having been captivated by them in their opening number, I
could not wait for their further scenes. Each was delightful, performed with energy and
relish. All are to be congratulated but I cannot leave this without a special mention to
Emma Harrold who shone in her performance. In her role of Retty, we see her and farm girls
Izz and Marian lusting for Angel, and their performance of Will You Marry Me is a delight. I would also celebrate
Daley for her depiction of the young, innocent Tess who is unaware of the cruelty of the
world and is unprepared for its treatment of her, who accepts the inevitable and deals
with all that fate has thrown at her; Neely in his portrayal of the cruel and lascivious
Alec, and Hayes who is convincing as a good man but whose flawed character harms our
heroine as much as the cruelty of Alec. The haunting strains of
the duet between Tess and Alec, The Folly of My Youth, take us through the interval and
prepare us to journey with her to her destiny. Catherine Digges and Marc Geoffrey are to
be congratulated for their convincing performances in their many roles, not least of which
are Parson Clare and Mrs Angel, and their cold indifference to those whom they consider
socially unworthy through the song A Truly Christian Woman. There is no denying the
musicality of the performers. Duets are emotional, solos are exquisite and ensemble pieces
are enthusiastic and lively. The musical score with its notable numbers will leave you
humming in the interval and at the close when you leave the JONATHAN BAZ **** Alex Loveless' Tess of
the D’Urbervilles is a wonderfully fresh and dynamic re-telling of a classic English
story that brims with rustic reminiscence, charm and ominous drama. In this exciting piece
of writing, musicianship shines as instrumental and vocal talents are seamlessly woven
into 18th century Tess is a young woman
used and abused by Alec and over-idealised by Angel, all leading to tragic consequences.
Where Hardy's novels frequently have a backdrop of foreboding barren moors, the
introduction of musical theatre gives the author's whirlpool of emotions an excitement
that only enhances the story. Jessica Daley draws us
in as Tess. Down to earth, honest and truly likeable, we wish for her life to work out,
even though we know she is doomed. Alec is deliciously villainously played by Martin
Neely. Cold, calculating and remorseless, as he duets with Tess in Forbidden Fruit the
audience shivers with disgust. In complete contrast, Nick Hayes' Angel is the handsome and
charismatic Angel. The love between his character and Tess is completely believable with
their ravishing duet I Deal In Ideals, proving a premonition of the devastation to come.
Daley’s voice is full of colour and dynamic as she changes from youthfully wide-eyed
innocent, to a desperately wounded and bereft young woman. The show's tragic ending is a
masterpiece, not only of musical intensity but also of outstanding stagecraft from both
the company and Chris Loveless' top-notch team of creatives. Alex Loveless has
excelled at lush harmonies that are thrillingly and passionately sung by the whole
company, a particular highlight being the opening number Children of the Earth. David
Shield's simple yet effective set design is well complemented by lighting from Phil
Spencer Hunter, both men working to create a clever evocation of time and place. Tess of the
D’Urbervilles is a beautiful new musical that re-tells a substantial novel with an
energising score. It deserves a longer run, a bigger budget and a wider audience. Go see
this show
PLAYS TO SEE **** …the prospect of musical theatre and Thomas
Hardy seemed an odd one to me. A Victorian novel and show tunes? However surprisingly,
though, Alex Loveless’s adaptation worked. …the dramatic, theatrical tone of
Hardy’s story was captured by the equally dramatic musical numbers, with the cleverly
pared down staging beautifully capturing the rural society Hardy depicted. The first thing I noticed about this production was
the level of thought and precision that had gone into every detail of the piece. It began
with the musical ensemble standing on stage playing a short prologue on the flute, violin
and oboe. It was split into three parts: the first minor, the second major, the third
minor once more. Again, without revealing too much, the arrangement largely mirrored the
arc of the plot itself: a wonderfully constructed introduction. The stage itself was
beautifully presented, white shards of backdrop (almost like splinters of glass) filled
the stage, painted with a bleak, black landscape of bare trees and rocks. Once more, the
staging seemed symbolic, reflecting the tone of the story itself whilst also being
visually striking. Musically, too, the play was astonishingly good.
…the overall impression was stunning, the voices of the ensemble and the leads
filling the tiny studio theatre. It dominated the space, and was as melodramatic as the
plot, the violins lilting sadly at the climax, and the ukeleles accompanying the more
carefree, joyful moments. …the finale was genuinely moving, and the raw emotions of
the characters involved were portrayed with some skill. The ensemble, (who narrated the piece, like the
chorus of a Greek tragedy), were undoubtedly sublime, versatile and quirky, their
light-hearted presence complementing the rural feel of the piece as a whole: it could
almost have been performed in a village barn! Nick Hayes was the perfect Angel,
patronisingly well meaning and yet impossible to truly dislike… … it was a thoroughly enjoyable evening. Chris
and Alex Loveless have brought a perceptive, sensitive version of “Tess” back to
REMOTEGOAT **** …this new musical by Alex Loveless – book, lyrics and music is sheer enchantment from start to finish… Loveless is particularly good at
reproducing the kind of country music that would be around at that time and Lucy
Cullingford’s accompanying rural style choreography fits the music extremely well.
The music is really good, some of the songs and harmonies are excellent and there are some
songs that could easily become standards – especially those sung by Jessica Daley in
the eponymous role. MELLOWDAY Thomas Hardy’s
melodramatic tale of ‘Tess of the D’Urbervilles’ is brought life by
Stepping Out in Association with Partisan and Fallen Angel Theatre. Written by Alex
Loveless, this is the best new musical to hit the Off-West End stage in years… Awarding ‘Tess of
the D’Urbervilles’ five stars seems stingy… Alex Loveless (Book, Music and
Lyrics) has successfully captured the essence of Hardy’s melodramatic
nineteenth-century novel and coloured it with a musical score that saturates the soul with
emotion. The melodies and
powerful lyrics are blended with operatic folk music – a completely unexpected,
unusual mix but the result hits you right from the start. The measure of this
production’s success is that you do remember and hum the songs in your head long
after you’ve seen the show. I haven’t been this bewitched by any musical since I
first watched Boublil and Schönberg’s ‘Les Misérables’ (based on Victor
Hugo’s novel). Set in rural Thanks to the flawless
direction from Chris Loveless, the entire cast nailed it right on the first night. Casting
Director Benjamin Newsome has chosen the most talented troupe of fresh faces for this
intoxicating new musical. Jessica Daley stars as Tess Durbeyfield and gives an
award-winning performance as the emotionally scarred, tragic heroine who finds herself in
the position of being torn between two men – a situation that ultimately destroys
her. Jessica’s voice has the ability to reduce those possessed with the steeliest of
dispositions to tears, in particular in songs such as “I Saw Your Face”, which
for me is the equivalent of the ‘Les Misérables’ tearjerker “On My
Own”, but her duet “I Hear Your Voice” with Martin Neely (Alec
D’Urberville) is the most heavenly, spiritually uplifting song of the evening. I need
the CD now! Martin Neely is
perfectly cast in the role of wealthy, silver-tongued Alec D’Urberville. Neely’s
interpretation of the snake-like, silver-tongued opportunist presents him flitting from
high romance to evil demon in the first Act. Neely possesses the ability to make you
believe in his charm, but his character quickly changes to curdle your blood in the first
Act. Nick Hayes in the role of Angel Clare, the rival lover, will have you on the edge of
your seat as he plays out his desire for Tess only to reject her once he discovers her
past. Hayes perfectly captures Angel’s inner torment and pain at his own rejection of
Tess, bringing out his obstinacy and deeply entrenched psychological flaws which he
can’t shake off in order to accept her. The musical direction
and sound design is also terrific… Christopher Ash (Musical Director & Sound
Designer) hasn’t just made use of the entire stage but has the ensemble in the
background throughout. They play instruments including the accordion, and the overall
arrangements helps to create a sensational folk sound. David Shields has
created a very clever set with higgledy-piggledy farmhouse buildings on which are painted
rustic settings. This looks particularly creepy in the final scene at Everything about this
work has its own unique magic and I am certain that with more development… it could
go the same way as ‘Les Misérables’. It also has the potential to be staged as
a concert based on enough powerful melodies and strong lyrical narrative. Whatever happens
to this gorgeous musical we will certainly see it again – hopefully in the THE UPCOMING **** Daley,
Neely and Nick Hayes are the stars of Tess of the D’Urbervilles, and
along with the eight other brilliantly talented actors and musicians, make this show a
success. Overall, a magnificent performance.
REVIEWSGATE Anyone seeking a reason
to visit Wimbledon now there is no tennis on offer need seek no further than this fine
musical Alex Loveless has created… Loveless has come up with some enchanting ballads
and several rousing chorus numbers for the STAGE REVIEW Doeful-eyed Daley, as a young girl trapped in the
moral and social conventions of the era, plays her part beautifully with just the right
balance of servility and fortitude. Flaxen-haired Nick Hayes makes a dashing
romantic hero as the priggish Angel… Catherine Digges and Marc Geoffrey play six
characters between them – including three sets of parents – and all are a treat. The music…is atmospheric and melodic…
The Loveless brothers have come up with a bold and well told story that should please
Hardy fans. GINGER HIBISCUS This musical adaptation of Thomas Hardy’s
classic English novel, breathes life into Tess of the d’Urbervilles, a text that
(before reading it) many dump in the, “that’s an old book, it’s probably
really boring and full of tricky lingo,” pile. This production proves that on stage,
it’s nothing of the sort. Brothers Alex (Composer) and Chris Loveless (Director) do a
phenomenal job of telling us Tess’ story, moving between events (so many events) at a
fiesty trot, fast enough to be thoroughly engaging without losing us somewhere along the
way. Tess, played excellently by Jessica Daley,
hesitates at the proposal because she knows she’s not what Angel, or any man, expects
in a bride. As Hardy, author of Tess of the d’Urbervilles, said, Tess is a pure woman
who’s a victim of her circumstances. And that comes through in every single syllable
from Daley. As Tess, Daley is earthy and wholesome, earnest and ultimately, believable.
She becomes a heroine that the audience can truly, unequivocally empathise with, and
unusually for a musical, I felt that if I were her, I would have made very similar
decisions. For every heroine we need a villain, and in Tess
of the d’Urbervilles we get two for the price of one. The cruel Alec is the epitome
of, a “villain,” with zero redeeming features. Played by the outstanding Martin
Neely, he’s imperious and patronising, fully conscious of his behaviour as he
declares Tess the “Forbidden Fruit” in a brilliantly sinister duet. As Angel,
Hayes pitches his performance perfectly, confident and strong, with a thrilling on-stage
chemistry with Daley exposed in their series of duets. The show reaches it’s climax with a
phenomenal ensemble performance. Clearly practiced to perfection, it’s a special
moment that triggers a whole cascade of emotions, tumbling over one another like rocks in
an avalanche, gaining momentum. The multi-talented ensemble join the avalanche, adding to
it’s potency not just with their singing, but through their musicianship, playing a
veritable orchestra of instruments live on stage. This relatively unusual element is such
a treat, giving the whole show a thoroughly rustic feel, with the folk-infused score and
foot-stomping country dance. …I feel like this is something incredibly
special. A heavyweight novel married to a heavyweight score, producing a show that’s
potently powerful.
THE LONDONIST Martin Neely as the condescendingly predatory Alec
D’Urberville is particularly good, seducing Tess with a strawberry and his creepy
baritone in Forbidden Fruits. Nick Hayes as Angel, true to his name, lights up the stage
with energy oozing from every fibre and is the perfect handsome foil to the sinister
Alec. Three excellent milkmaids make up the infectiously fun west country ensemble,
always on stage as a sort of acting orchestra. Swapping their flutes for banter, dancing
and spirited songs, they pick up the pace in between doleful duets. When it comes to Tess…the former finalist in
BBC1’s search for a Dorothy is certainly the strongest in an already fantastic cast. This Tess is a wonderful musical evening. GRUMPY GAY CRITIC A rich, dramatic, and inventive score…Alex
Loveless is not afraid to experiment a little, giving Tess of the
d’Urbervilles a unique and inventive sound that marks it out from other new
musicals. Here, Alex Loveless really embraces not just a modern musical style, but also
the sounds, harmonies, and rhythms of English folk and pastoral music. Behind these he
also puts behind a lot of thought and emotion, resulting in such stirring numbers like
‘Children of the Earth’ and ‘Joyfully, We Praise’, to soaring and rich
numbers like ‘I Hear Your Voice’. Lyrically… he does bring his own sense of wit
and creativity to the libretto that really complements and augments the emotions
he’s encapsulating in his music. There are more than a few unique and attention
grabbing songs that demonstrate that Alex Loveless’ reputation is by no means one
garnered from false praise. The production behind the show is also of a high
standard and is as impressive as the new musical writing on offer here. David Shields
stage design does a good job of portraying several of the abstract themes. His dilapidated
arches, with peeling wood panelling and painted with drab pastoral scenes, very handsomely
represents the ideas of a waning aristocracy and nature being unforgiving and harsh, not
to mention easily conjuring up Stonehenge: where the novel’s climax takes place. Director Chris Loveless also makes great use of the
space, particularly in capitalising on the nooks and crannies among Shield’s flats,
meaning that actors end up being framed dramatically, appear, disappear, or be hidden with
ease. Working closely with Movement Director, Lucy Cullingford, there are also bits of
choreography and physical theatre that really add energy and slick showmanship to parts of
the show. Cast Kudos to Casting Director Benjamin Newsome for
finding a cast that can also play a plethora of instruments on stage without sacrificing
acting ability. It’s really great to find such multi-talented performers,
and make full use of their many skills. Particularly, Emma Harrold, Sarah Kate
Howarth, and Jessica Millward are a trio of ladies who not only interact and bounce
high-spirits and impish energy off each other, they work just as close-knit and refined an
ensemble on violin, flute, and viola respectively. However, Jess Daley in the titular role really steals
the show. She’s astonishing at being the heartbroken heroine, balancing out
devastating misery with a wonderful sense of romantic hope and feminine
tenacity. You really feel the inner pain and turmoil that is written clear across her
face… it’s easy to get lost in her beautifully tragic portrayal of Tess. …some really great new British musical writing
…the score is rich, vibrant, and original… AUDIENCE FEEDBACK FROM PREVEWS
I thought the show was excellent. The music
was multi-layered and haunting ... I loved the performances, especially Angel Clare
who I felt was very sympathetic. And all of the ensemble were fantastic musicians ... Everything was very slickly choreographed and executed (both in terms of dance & movement around the stage, and in terms of the retrieval of instruments and their use within the show). The music was melodic and enjoyable with a good mix of “rustic” numbers, love songs, atmospheric numbers and a bit of humour thrown in as well! Highly recommended! ***** ... my congratulations to everyone involved.
I reckon I was at a World Premiere of what deserves to be a very successful show. Completely engrossing, so true to the original
story. Wonderfully executed. Wonderful singers and musicians. Wonderful production. Very well acted and the
music superb. Great adaptation of the book. Excellent. So much talent. An excellent production of a very good show. It was performed well on all counts: singing, acting, dancing, musically and production values. The story was told clearly and faithful to Hardy's original. The three leads were excellent and Tess was particularly sympathetically portrayed. The ensemble acting, singing and instrument playing cast, were also very talented and added greatly to the atmosphere of the piece. ***** This is a charming production. A talented young cast tell the moving story of Tess of the D’Urbervilles. Lovely voices and very good musical ability. I'm usually not a big fan of musicals but I loved this one. The theatre is small and intimate and I felt very involved. This play deserves to be seen and I do hope people book this one. You won't be disappointed. ***** Stunning performance. We both really enjoyed it. ***** Wonderful show. Fantastic musical telling of this classic tale .Beautiful music accompanied by very talented musicians. The acting and singing was first class. I really hope that this show does really well - it certainly deserves it and I feel privileged to have seen its premiere. A wonderful and memorable night of musical theatre. ***** The cast were all very talented as actors/actresses and also as musicians. More than half of the cast were musicians as well covering a range of instruments, and were also supported by a small group of off stage musicians. Difficult to single out any specific performances but Jessica Daley was excellent with an exceptionally strong voice. A very enjoyable evening and a faithful reproduction of the story. **** An enjoyable production, acted, sung and choreographed well… An enjoyable evening out. **** Very touching production. The music was
beautiful and the actor-muso ensemble was a very pleasant surprise. Clearly a very musical
cast - the voices and harmonies were flawless. The small space was used very well. **** Original piece of work demonstrating wonderful music and good choreography. The production was so professionally executed, it captures your full attention and I was sorry when it ended. The quality of the cast and their musicality impressed so much, a really memorable night. **** Walking into the studio you are immediately struck
by the impressive set, and intrigued by the props and instruments dotted around the
stage... Of note are the actors playing the main roles of Tess, Alec and Angel, who have a
great stage presence, and portray their characters with intense emotion and wonderful
vocals. The rest of the ensemble work well establishing a range of supporting characters
along the way (my favourite scenes were with the Clare family!)... I applaud the cast and
all the creative team, and enjoyed the show very much. It is always a pleasure to watch and listen to a
new piece. I thought the music helped along by some fabulous vocal performances from the
cast stirred emotions. It conjured images of the time and was perfectly written to
tell the story. The staging was clever with the use of instruments beautifully played by
the ensemble... Well done to all involved and keep up the good work. This was fantastic. Great use of staging, really
good casting. Quality of production and delivery was excellent. … I hope many more
people go to see it. I would certainly recommend it. |
