We round up the reviews for this digital production of Terence Rattigan’s one-woman play starring Janie Dee.
Evening Standard: ★★★ “Alastair Knights’ production instills a spidery sense of unease throughout. Dee is terrific in it. With each jerk of her hands or crimp of her eyes, she shows the character slowly losing control. Whether this is a ghost story or a study of loneliness doesn’t ultimately matter.”
The Guardian: ★★★ “The drama takes place only in the drawing room, but this production, filmed in a hotel, has too much of a hotel feel to it to be an upper middle-class north London home, though Dee’s convincing performance eclipses the setting. Plaintive strains of piano music by b add to the pervading melancholy of the piece.”
The Stage: ★★★ “Featuring a deceptively vulnerable performance from Janie Dee, Alastair Knights’ production of Terence Rattigan’s short but affecting play is a bleak choice for lockdown.”
The Arts Desk: ★★★ “It’s something of a triumph, then, that Dee still makes something special out of a dramatic curio last seen on the West End with Zoë Wanamaker as part of the Kenneth Branagh season at the Garrick Theatre.”
London Theatre.co.uk: ★★★ “Indeed, across the 30 minutes or so of the performance, I was mesmerised throughout not just by Dee but by the soft furnishings of her surroundings: the venture was in fact filmed at Flemings Mayfair Hotel, located a fair distance from Hampstead.”
New York Stage Review: ★★★★ “So here, thanks to Dee, Knights and crew, is a renewed chance to see and hear Rattigan at his concentrated best.”
Theatre Weekly: ★★★★ “A monologue of this nature can be tricky to get right, especially as Dee is required to also provide the voice of her late husband, but director, Alastair Knights and assistant director, Jack McCann, seem to have found the perfect pace, giving Janie Dee all the space she needs to deliver a knock-out performance.”
Pocketsize Theatre: ★★★★ “Alistair Knights direction is simple and effective but it’s Janie Dee performance that is compelling and moving and makes you yearn to be back in a theatre for a well written and performed drama.”
The Times: ★★★★ ” If Terence Rattigan’s name didn’t appear on the credits, it would be easy to assume that this taut, despairing monologue came from the pen of Alan Bennett.”
A Younger Theatre: ★★ “Dee makes a valiant attempt at balancing the different narrative voices, but the resonant atmosphere in two-hander scenes is almost impossible for Dee to create alone. As a result, the conversations within the script come across awkwardly, creating the uncomfortable atmosphere that burdens this piece.”
Broadway World: “Short and sweet, but still manages to make your eyes prickle, this timely digital production of All On Her Own will likely resonate with more of us in this current lockdown than it might have done in the past.”
WestEndBestFriend.com: ★★★★ “Dee is outstanding as she takes Rattigan’s words and injects life into them. You never doubt that whatever happened to her husband, she is the real tragedy unfolding right before your eyes. The piece may be laced with sardonic humour but this woman is in pain and this comes across constantly; displaying loss, regret and guilt in insightful ways.”
All on Her Own continues to stream via Stream.Theatre until 21 February 2021.