Jeremy Herrin’s production transfers to the Duke of York’s Theatre, having played at the Hampstead Theatre (running until 30 June 2018). But what have critics been making of David Hare’s play?
Broadway World: ★★★ “It’s impossible to discredit the performances, or Bob Crowley’s luxurious design, but I look back and think, what have I learnt from this? Jeremy Herrin’s production is good, but it’s also safe. Where’s the danger?”
The Upcoming: ★★★★ “The tight and polished production owes as much to individual performances as to extremely capable directing – with Jeremy Herrin firmly at the helm, allowing the cast of strong characters to weave their way through the playwright’s recitatives and arias.”
The Guardian: ★★★★ “Jeremy Herrin’s direction, meanwhile, does justice to an enlightening play that, like much of Hare’s work, is full of an alert romanticism.”
The Arts Desk: “Roger Allam and Nancy Carroll serve David Hare’s iron fist in velvet glove to perfection.”
The Reviews Hub: ★★★ “It felt at times like it was a play written and produced for them, for those already in the know. With opera already struggling with an elitist image problem, it was odd to find a play about the subject seemed to have created the same issue for itself.”
The Times: ★★★ “Hare’s very English story of these Glyndebourne oddballs lives up to its name.”
Theatre Weekly: ★★★ “The Moderate Soprano ticks along at a strolling pace, it feels warm and homely, if a touch devoid of risk, and will most definitely appeal to a certain type of audience. This is a strictly Earl Grey production when the West End is crying out for a more challenging blend.”
Thoroughly Good Blog: “Roger Allam shines effortlessly in the role of Glyndebourne founder John Christie.”
Mature Times: “David Hare’s play will appeal not only to Glyndebourne audiences but also to any audience who enjoys a witty script. The bonus here is that the wit is delivered by Roger Allam, who is excellent as Christie.”
