This much-loved and cherished story by CS Lewis is cleverly brought to life by Theresa Heskins’ adaptation. And yet, despite its best intentions, this production directed by Andrew Panton falters mid-way, through hammy overacting.
For the opening production of the Lyceum’s 50th anniversary season, outgoing artistic director Mark Thomson has assembled a suitably celebratory cast, with Bill Paterson and Brian Cox in the roles of the two men killing time in the countryside waiting for the mysterious Godot in a play where supposedly ‘nothing happens – twice’.
The National Theatre of Scotland’s adaptation of Muriel Spark’s The Driver’s Seat has a righteous fury, combined with a drive born out of cleverly harnessed technology and a tight ensemble. However, it does not always seem sure of itself and as a result is a curiosity rather than a convincing piece of theatre. Taking a stress-induced holiday from her job in an unspecified ‘North’, Lise travels to Naples, apparently seeking romance. It is not much of a spoiler to say she will end up murdered, as we are told this very early on. Instead the focus is on how and why this will happen.
The winners and the critics’ citations in full:
The Royal Lyceum dominated the awards at the Critics Awards for Theatre in Scotland, held at the Glasgow Tron theatre on Sunday 14 June 2014.
The Royal Lyceum has triumphed at this year’s Critics Awards for Theatre in Scotland, with three productions winning a total of six gongs between them. Further nods for Edinburgh-based companies have gone to two Traverse co-productions and to Catherine Wheels Theatre Company.
✭✭✭✭✩ Double the fun:
Broad, finely honed and never afraid of a corny joke, The Venetian Twins is a huge, rip-roaring thing. It is all rather silly, but is none the worse for that.