Press Reviews 2011

TWELFTH NIGHT

Oliver Gray, directing a five-actor ensemble, has striven to create an experience Shakespeare himself might well have been comfortable with on tour. There are as many versions of Twelfth Night as there are performances, with countless interpretations for director and cast to build around. This one is delivered at a blistering pace; physical, bawdy and unashamedly a comedy. There is tragedy, unrequited love and brilliant verse in Twelfth Night but it is the way this small, young and talented cast bring out the laughter from every situation that makes this particular production a success. This is a young and talented cast which bodes well for the future of a small company who are currently in their 20th year of touring.

Western Mail

Like the original Shakespearean productions, this quartet's antics appealed very much to the modern equivalent of the "Groundlings" in the audience. More restraint was shown in the portrayal of the Scottish- accented, much-abused Malvolio, and although occasionally sailing very near the too-broad comedy wind the arch plotter Maria came over as a very dangerous adversary.

Bristol Evening Post

 Performed by the company's customary cast of five, who, while they made one laugh, and I only wish I could say that about every Shakespearean comedy I've seen, at the same time also provided glimpses of the misery that goes hand in hand with the "midsummer madness", the play's misunderstandings and mistaken identities. Directed by Oliver Gray who, like Sir Andrew Anguecheek can certainly "cut a caper", not to say "a dance of delusion", the set pieces from the garden scene to the trio "holding their peace", were splendidly realised, while there was any amount of the inventive funny business one has grown to expect and love from this company. It says much for the skills of the director and his "famous five" that, as this evening of "sweet theatrical trickery" came to a close, despite the fact that he was still damp, dangerous and determined to be "reveng'd on the whole pack" of those who had mistreated him, they managed to leave one feeling every sympathy for the unfortunate "cross garter'd and yellow stocking'd" Malvolio.

The Cornishman

The main strength of this Twelfth Night is the overall quality of the acting. That and the direction from Oliver Gray – and of course the play itself – combine for an ideal evening of open-air theatre. The scenes between Olivia and Viola (disguised as Cesario) are especially well done. There's a lot of sexual ambiguity there, as indeed there is in the Orsino/Viola scenes. And there's a beautifully worked out and choreographed ending. Shakespeare's text is packed with well-known sayings – and of course some outrageous innuendo.

Nottingham Post

THE PIRATES OF PENZANCE

Nestled on a bench I was ready to have my timbers well and truly shivered by the talented Illyria cast who’d been busy wowing crowds all over the UK. And on this evidence it was easy to see why. As much as this was very much in the ‘entertaining romp’ category, it’s important to remember that ‘Pirates of Penzance’ is an operetta, which meant the cast’s vocal skills were put to the test whether it was in the chorus or in solo spots. They were certainly up to the challenge though, and after this performance none of them should be worried about having to walk the plank anytime soon!

Berwick Advertiser

As Gilbert and Sullivan first timers my husband and I weren’t sure what to expect from this most famous of operettas. But we needn’t have worried, the seven amazing actors took on an operetta written for 20 with gusto and pulled it off superbly. The larger-than-life characters, the complex, clever lyrics, the showing off, the props - the galleon was amazing - were all wonderful. Even the 2143 to Euston, thundering through the nearby station failed to detract. Can’t wait for the next production.

Hemel Gazette

FANTASTIC MR FOX

Fortunately for us, the sun shone on a warm August evening for an alfresco adaptation of Roald Dahl’s Fantastic Mr Fox performed by the compact touring company Illyria. The story unfolded with the aid of puppetry and live music and song culminating with a singalong finale, ‘Cider Inside Her Inside’. Maybe it was the animal costumes, or the farmers’ masks, or maybe it was the mixture of gentle folky songs and musical sound effects that gave this production a Wicker Man feel (in a good way!). Children were captivated, and the relaxed atmosphere created by families picnicking on rugs in front of the stage made for a perfect evening’s entertainment.

Latest Seven Magazine

Given that performing in the open air and for children are risky activities, at the same time the players not only enjoyed the bonus of a big cheer when they first appeared, before they had even said or done anything, but also an even bigger one when the curtain came down on the show. Between the cheers we are treated to a feast of storytelling more mouthwatering even than the secret food store of the three villains of the piece. Everything seems to come in threes here: "Boggis and Bunce and Bean – one fat, one short, one lean." Whether or not they should be regarded as "horrible crooks" is arguable, depending upon which side of the farmer's fence you happen to be sitting, but in Roald Dahl's book they definitely get the thumbs down. However, the six members of the cast, Frank Teale, Ruth Cataroche, Kevin James, Ben Goodridge, Natalie Piper and Robert Took – who are, of course, neutral – get the thumbs up. They share a score of parts and dash in and out of character and costume at speed without, as far as one can tell, putting a shotgun or shovel wrong. A show not for vegetarians perhaps, but splendid for everyone else.

Western Morning News

ROALD Dahl’s cunning trickster was brought to life in a fantastic fashion at the Wardrobe Museum Gardens. The six-strong cast did well in bringing Dahl’s distinctive brand of humour, adventure and dark moralistic meaning to life, aided by some fabulous costumes, clever props and catchy tunes. The farmers, Boggis, Bunce and Bean were marvellously menacing, the little foxes charmingly not so little, and Fantastic Mr Fox perhaps rather more unequivocally heroic than Dahl intended but appreciated nonetheless. This was a children’s show which the children seemed to thoroughly enjoy, and that surely is the most important thing.

Salisbury Journal