If nothing else Wils Wilson has produced a rollicking evening of entertainment in Twelfth Night at Bristol Old Vic, even if it is only a surface level take on this most beguiling of masterpieces.
David Greig’s riveting adaptation of Simpson’s Touching The Void has made the transition for an innovative co-production, led by Bristol Old Vic, which is now touring.
Shifting emotions are filtered through autumnal sunlight in the Lyceum’s Twelfth Night, with as much defiant sadness on view as happy resolution.
Touching The Void is a theatrical triumph. David Greig, Tom Morris and the team have created a piece of theatre that excels beyond mere adaptation.
You know those ‘if you’ve been affected by the issues in this programme…’ messages you get sometimes after particularly traumatic documentaries and/or episodes of Hollyoaks? Have you ever seen one in a theatre before?
Marking 100 years since women were first granted the vote, it’s a celebration of the women who dared to be different, and a call to arms to finally eradicate gender inequality for good.
For a play about storytelling, most of A Monster Calls is oddly unengaging and bland. Worst of all, it does the audience’s moral work for them, being increasingly didactic and offering its sincere insights into loss, love, and feeling on a plate.
Patrick Ness’ novel slips perfectly into Sally Cookson’s fertile theatrical imagination. Its split-focused tale of cancer wards and midnight hour fairy tales suits Cookson’s gifts, for genuine human emotion and beautifully intricate theatrical imagery.
In the hands of Sally Cookson, A Monster Calls is an instant classic: a show that transforms both hearts and minds through the magic of authentic storytelling. Go with someone and join the masses who rose to their feet and hugged those near them.
The joy created by this remarkable company is second only to the joy felt by those lucky enough to see The Nature of Why. This isn’t a performance you simply see or hear. It’s one you feel.