Olivia Olsen’s new play about Anna Akhmatova, the Russian poet who voiced the suffering of the people in Stalin’s Russia is heartfelt but flawed.
Phil Willmott navigates a steady course through Bernard Shaw’s turbulent Heartbreak House though he occasionally drifts away from meaningful satire and into jolly farce.
We’re in Paris and it’s the swinging sixties and Bernard, a bachelor and highly successful Parisian architect, is flying by the tail wind of the Jet Age. With three fiancées, who are all air hostesses for different airlines and flying on different routes, he has managed to ensure that only one of the women is ‘at home’ in Paris at any one time. However, with the dawn of newer planes and faster aircraft, Bernard’s carefully timetabled system is put under severe pressure.