(4 / 5)

An Inspector Calls is a staple of English Literature GCSE; we’ve all grown up knowing the twists and turns of J.B Priestley’s classic play. I remember vividly studying it and even playing Shiela Birling in an amateur production, so I know the play well. This is a production that rips up the basic setting of the upper-class drawing room and engagement party that Inspector Goole intrudes upon, with unwelcome news. This is a moody, smoky, gritty production that really emphasises the themes of society, class, gender and generational divide.

The set is extremely impressive. I loved the ‘doll’s house’ Birling household, with them being closeted away inside away from the audience’s view as the curtain lifts. It stands on stilts above the street below, keeping the Birlings and their perfect world away from the gutter, out of the view of the lower end of society. The front of the house opens up to begin their descent, swinging open to reveal their garish opulence, which stands starkly against the grey drabness of the street below. The Inspector arrives and bridges the gap, slamming steps against their home to be able to force them to descend to the streets below. The house plays an important part later on too, which I won’t spoil, but this further visceral vision of the collapse of this affluent family is excellent and drew gasps from the audience.

I also loved the costuming, with each character revealing their own unravelling. Sheila becomes more and more undressed as the show progresses, with her beautiful white gown having less and less fabric as action unfolds. Gloves are removed, shoulders taken off, leaving bare shoulders and arms. The other cast are disrobed in similar ways. Eric especially is dishevelled and unkempt upon his return; Mrs Birling’s perfect hair cascades messily down her face.

Tim Treloar as Inspector Goole walks through the darkness of the auditorium to the stage, his figure standing tall and forlorn in the single ray of the streetlamp. We have a Welsh Inspector here, a fact made altogether more impressive by the fact that this is a change specifically for the Wales Millennium Centre residency. The accent adds an extra element to the performance; ensuring that Goole stands apart from the Birlings, not quite fitting in anywhere to the fictional industrial town of Brumley, England. His performance was not what I was expecting at all; this Inspector is sometimes funny, passionate, clearly passionately involved in the tale of Eva Smith and her untimely demise. It makes him more human than previous iterations I have seen; his humour breaking the sometimes almost unbearable tension of the scenes and, of course, immediately gains him the empathy and support of this Cardiff crowd!

An Inspector Calls 2024. Tim Treloar (Inspector Goole) and Alice Darling (Edna). Photo by Mark Douet

He is joined by an excellent cast; Jackie Morrison owning every inch of the stage in her opulent gown as Mrs Birling; Philip Stewart is our understudy Mr Birling and brings the upper-class bluster and self-importance of Birling in spades. The younger side of the family are played to great effect by Leona Allen as Sheila Birling and George Rowlands as Eric Birling. Tom Chapman completes this ensemble as Gerald Croft, bridging that gap between the older and younger generations with ease. I also thoroughly enjoyed the ever-present Edna played by Alice Darling, her fair skin and quiet demeanour constantly reminding us of the lost Eva Smith and being an unending reminder of the effects that this family have had on a girl just like her.

This is a production which is unafraid of silences, poignant pauses and tableaus which really drive home every piece of symbolism and theme of the script. The image of the Birlings brought low by the Inspector, wrapped in blankets on the cobblestones beneath the very house they presided from is one that will stay with me for a long time. I enjoyed the use of the young actors throughout the piece and the ensemble serves to remind us that we are one society and those who forget that do so at their peril. This is ably directed by Stephen Daldry (with assistance from Charlotte Peters) and ensures that the audience sees this very well-known script with a whole new set of eyes. My only tiny complaint was that we lose some of the dialogue full of foreshadowing and dramatic irony at the beginning, with the house remaining closed slightly longer than I would have liked. But this is a very small grumble in an otherwise well executed, smart production.

Moody, atmospheric, with spades of tension to boot; I love the original, but I’m pleased to report that this adaptation maintains that whilst adding many more layers and creating a version that will stay with the studiers of this GCSE piece. Ultimately, I think that is what is important; maintaining the integrity and message of the original whilst compounding its importance for the future generations that are, and will be, reading it in class. The audience, both young and old, leave with ‘fire and blood’ in their minds, left with the message of ‘one society’ that is more important now than ever, almost 80 years after it was first produced in the West End.

As the weather turns frosty, it feels like we too have stepped beyond the fur coats and into our own endless winter. But if that means joining the Pevensie children on an adventure, then this winter brings plenty of warmth!

The stage adaptation of C.S. Lewis’s “The Lion, the Witch and the Wardrobe” is a magical experience that brings Narnia to life. Directed by Michael Fentiman, this production blends music, puppetry, and energy, making it a treat for fans old and new.

The Wales Millennium Centre delivered an unforgettable experience. Marking the novel’s 75th anniversary, this adaptation enhances the beloved story’s magic. With breathtaking staging and a talented cast, it brings the wonder and adventure of Narnia to life.

From the moment the lights go down, the visuals are breathtaking. Tom Paris’s set and costumes transport the audience into the snowy forests and the White Witch’s icy castle. The puppetry, especially in bringing Aslan to life, is wonderful. Actor, Stanton Wright, along with a team of puppeteers, makes the lion feel both powerful and real.

The music by Benji Bower and Barnaby Race adds depth with folk-inspired melodies. A unique touch is the actors’ playing instruments live on stage, making the atmosphere even more immersive.

The cast shines, led by the four Pevensie children, who capture both the wonder and sibling squabbles of youth. Joanna Adaran (Susan), Jesse Dunbar (Peter), Kudzai Mangombe (Lucy), and Bunmi Osadolor (Edmund) bring their characters to life, making Edmund’s transformation from selfish to redeemed very moving.

Katy Stephens is both chilling and captivating as the White Witch. Archie Pope’s Mr. Tumnus is warm and endearing, and his nostalgic song about spring is a show highlight. Ed Thorpe’s Mr. Beaver brings the perfect amount of humour, while Anya de Villiers as Mrs. Beaver is equally delightful.

 The audience reacted with gasps of wonder and enthusiastic applause, especially during the wardrobe’s magical transformation into Narnia. The mix of humour, adventure, and emotion made the show enjoyable for all ages.

Some special effects may not be as striking from seats farther away, and the first half’s pacing is uneven, with some scenes dragging while others felt rushed. At times, the music overpowers key dialogue. Aslan’s portrayal as both a puppet and an actor is creative, but some may find the transition a bit distracting. 

And of course, no matter how magical the show, it doesn’t come with a real portal to Narnia. Some audience members (myself included) might leave a little disappointed after checking the back of their wardrobes at home!

This adaptation is a brilliant retelling of a beloved story. With strong performances, stunning visuals, and immersive music, it captures the heart of C.S. Lewis’s classic. Despite minor flaws, the passion and creativity behind this production make it must-see. Whether revisiting a childhood favourite or discovering Narnia for the first time, this show is a magical and unforgettable experience.

Taking off my critic’s hat for a moment—this production completely swept me away. I could go on and on with praise, but I urge you to see it for yourself. I felt like a child again, lost in a magical world brought to life in the most fantastic way. It’s 317 days to Christmas, but in Narnia, every day could be Christmas. If I could exist in both the real world and Narnia like the Pevensies, it would be a dream come true!

(4 / 5)

Over the past couple of years, it has become somewhat of an annual tradition for me to take the short journey to the Weston Studio and the Wales Millennium Centre to watch a queer-infused re-telling of some of the most iconic Christmas classics to ever exist. The last three Christmases saw Polly Amorous and the team take over the venue with their unique version of festive stories (the most recent of which is the first xxxmas which you can read about at https://getthechance.wales/2023/12/23/review-the-first-xxxmas-by-rhys-payne/) but the team working on this year’s project took a much more classically theatrical twist! As the name would suggest this iteration of The Nutcracker players homage to the iconic two-act ballet of the same name and I have to admit this is not a show I am particularly familiar with and so it did take me a little longer to pick on some of the nods and reference to the original show.

Production Images Kirsten McTernan

The story explores the underground world of misunderstood creatures as they highlight their skills in the wonderfully eccentric “Le Crack” through a series of cabaret-style performances. I thought that it was particularly clever that the opening moments of the show showed the group of outcasts actually putting on the aforementioned cabaret performance for the audience as this beautifully blended the lines between the story and reality that totally made sense!

My favourite performance in this version of The Nutcracker however was the captivating Cadbury Parfait who took on the wonderfully iconic role of the Sugar Plum Fairy. From the very moment this performer stepped onto the stage, they instantly stole both the spotlight and the audience’s attention as they showcased an incredible burlesque-infused performance. The performer used every inch of the stage as they began peeling off layers of their gorgeous insanely regal, gorgeously pink outfit which the audience went absolutely wild for. The second half of this production, however, saw the sugar plum fairy fully embrace a more villainous perspective as she began to spout a series of homophobic/transphobic abuse at the budding couple of the Nutcracker and the Rat King. This transformation began with the character being shrouded by towering curtains (which later magically cascaded down to the floor to reveal her new outfit) above the stage as she donned her Margret Thatcher-inspired suit/hair as she began spouting transphobic/homophobic abuse at the new coupling of the Nutcracker and the Rat King which was clearly a reference to the section 28 laws passed during Thatcher’s leadership. This then transformed into a performance of a performance of “Just Don’t be Gay” which was a comedic, cabaret-centric number that exposed the character’s bigoted views and also contained buckets loads of audience participation as the sugar plum fairy had key audience members reciting the straight creed of loving fixing cars, top gear and cigars. Despite being the character which the audience was encouraged to hate and boo, but I could not help myself being totally transfixed every time this character took to the stage!

Just over a year ago, we were introduced to the incredible Diomede at the first every Hell Haus event (which you can read about at https://rhysreviews.com/2023/10/23/hell-haus-production-review/) where we were totally transfixed by their incredible lip-synch talents but I was not aware how much of an all-round musical performer they are! Diomede was announced as the titular role in this queer-adaptation of the classic Nutcracker, and they were instrumental in helping invite immense amounts of sympathy from the audience. As an innocent character brought into this underground world of cabaret, The Nutcracker is not aware of all the things that go on at Le Crack or the lives of the creatures underground and so seeing this character go from being totally unaware to becoming a victim of the oppression was very powerful! There was a hilarious sequence later in the show where Diomede was forced into a physical box after confessing their attraction towards The Rat King (captured wonderfully by Len Blanco) to her master the Sugar Plum Fairy which led to a series of hilarious events where this performer trying to encourage a romantic moment while being stuck inside the box and also reciting the “straight man” mantra introduced by the sugar plumb fairy which had the audience in hysterics throughout!

In terms of individual performances, however, there was one member of the cast who clearly used this production to showcase their immense array of talents. Before ‘the cast of Le Crack’ could take to the stage the audience was greeted by Heledd Watkins as the world’s first dominatrix cockroach who helped to introduce “Le Crack” and the rules of the evening (which was obviously very important at any event) with a series of Nessa-inspired interactions with the audience. Throughout this compare-style introduction, ‘Roach’ showcased their bilingual talents by sharing some of the information through the medium of Welsh which is obviously a fantastic inclusion. Later in the production Roach also showcased their musical talents but not only providing backing vocals for all the performers but also busting out a series of electric guitar solos which was insanely impressive!

Overall, Nutcracker: the alternative cabaret is a contemporary and entertaining twist on one of the most iconic ballets with a much-welcomed queer/cabaret style twist which allowed space for a series of mesmerising performances. As previously discussed, this is my first experience with The Nutcracker so I do believe that I may have missed some of the references to the original story, but the narrative itself was easy enough to understand. Despite being an extremely outlandish tale, the love story between the invading toy soldier and the king of the rats is particularly captivating and the added layer of queerness to the story makes it even more heartwarming. The audience was clearly immensely involved with the story as they appeared to erupt in thunderous applause or booming boos at key points in the story. I would rate this story 4 out of 5 stars!

The story is super powerful, and it created a more impactful side to motherhood.  The synopsis of the story delves into the complexities and resilience of the whole womanhood and motherhood aspect, it further tells the story about a mother, called Amber, who fights for her daughter’s health who is fighting cerebral palsy, and her name is Bea. The stage configuration illustrates a boxing ring to win the support for her daughter, the whole story shows great emotion and conflict with the facing of cerebral palsy and the role of being a mother going against the system.

The performance I went and saw with my College, BGLZ, was led by Micha Williams, her performance was incredible, and her portrayal has widely influential in the theatre.  The acting led by the actress is praised for its emotional depth and physicality due to its practical on-stage boxing techniques.  The character Amber has great purpose in the play, she is the protagonist and is a compelling person. The actress plays her outstandingly well and with the physicality, and the acting was amazing. Micha shows great significance when using the boxing ring that symbolizes a determination to fight for her daughters’ rights, this made me super emotional because of how well she portrayed the characters feelings.

The themes within the play are very vulnerable when it shows the depth of an innocent family’s life.  The lengths that a mother will go through for her child is empowering, and this play definitely shows the strength that Amber goes through, but also the upsetting side to it too.   The theme of fighting is the main theme of the play, and it adds that unique adaptation to the story’s main focus.  Furthermore, the boxing metaphor demonstrates the emotional and powerful dimension to the narrative: this emphasizes the intensity of Ambers struggle while dealing with life.

In summary, the Mum Fighter play is a powerful story written by Tracy Harris, and it explores her own struggle.  Harris has a son with the disability, Cerebral Palsy and has created a perfect adaptation of her personal life to a stage show demonstrating the battle she went through herself. With the joint amazing writing and performance, the play is overall incredible, and the theatrical experience creates such a moving atmosphere within the theatre that leaves the audience grasping for what happened next, and how proud that the audience is when Amber wins the fight mentally and physically.

Photo credit: Andrew AB

(5 / 5)

It was a joy to be back in the newly refurbished main theatre at Theatr Clwyd for their annual Rock ‘n’ Roll pantomime this year. Theatr Clwyd is currently undergoing a huge redevelopment and aims to gradually reopen, with everything up and running again from mid-2025. The main theatre, renamed Moondance, is the perfect venue for the festive event of the year- for even if sitting in the back row, it’s impossible not to feel part of the action. Audiences were thrilled not to miss out last year as the production moved to the Big Top but unfortunately it lost the intimacy which makes Theatr Clwyd’s infamous panto so special and so, here we are, back to what we know and love…oh yes, we are!

The scene is set immediately upon entering the auditorium with an old farm windmill stage right and an ominous looking water tower with a chute attached stage left (all to be revealed later in the proceedings!) The proscenium arch is adorned with brightly coloured lights and, as always, the show’s title is displayed proudly in the centre, this year decorated with bubbles and rainbows- such a lovely, warm welcome to the new venue! Theatr Clwyd’s sets always have a story to tell, and they’ve even gone one further this year adding a nod to the modern age with flashy computer screens and super tech equipment in Suella de Rhyl’s lair (kudos to whoever came up with our villain’s name this year…and that’s coming from someone who lives in Rhyl!)

The costumes get bigger and better every year (as does Phylip Harries’ Panto Dame chest!) From the beautiful bohemian regalia of Billie Eyelash, the Fairy (another inspired name!) to the sublime and ridiculous Botticelli inspired Birth of Venus costume donned by Dame Gwladys Goose- a huge hand must go to Adrian Gee whose designs are simply show-stopping!

There is something for everyone when it comes to the music and choreography in this production. We’re treated to a version of Beyonce’s Texas Hold ‘Em but with a rather amusing lyric amendment…’This ain’t Wrexham (ooh!), ain’t no hold ‘em (hey!)’, a rip-roaringly appropriate Shake Your Tail Feather and a beautifully performed take on Snow Patrol’s Chasing Cars which is surprisingly moving.

Once again, the cast enthrall us with their capabilities as performers; line dancing one moment then rocking out on guitar the next, tackling some tricky dialogue before heading off to grab their saxophone! Incredible! And the reason, for me, that Theatr Clwyd’s panto is head and shoulders above the rest! No reliance on ‘celebrity’ names, just pure talent!

This production is superbly cast, each bringing their character to life with energy, powerful vocals and spot-on comic delivery. Phylip Harries’ once again shines as the Dame (it will be a sad, sad day when he decides to throw in the boob pads!) but special mention must go to Celia Cruwys-Finnagan as Mari Goose- standing at about five feet tall, this pocket-rocket has a powerhouse voice, sparkling charisma and sheer professionalism in spades! Director Daniel Lloyd is very much missed on stage, having been a pivotal part of Theatr Clwyd’s pantos for many years. However, his experience and expertise on stage mean he is all the better at knowing what works and what doesn’t as a director, and that paired with the witty and original writing of Chris Patterson can only be a recipe for success.

Mother Goose is quite literally the mother of all pantos- it’s got everything, from a brilliant script, a stellar cast and the perfect balance of wit, sentiment and tradition with a sprinkling of Christmas cheer. The new theatre has been christened and what a fabulous beginning to its story! Here’s to the next chapter for Theatr Clwyd!

Theatr Clwyd, Mold

December 6^th, 2024 – January 19^th, 2025

Writer: Chris Patterson

Director: Daniel Lloyd

Set & Costume Designer: Adrian Gee

Assistant Director: Ellie Rose

Musical Director: Tayo Akinbode

Casting Director: Jenkins McShane Casting CDG

Lighting Designer: Johanna Town

Sound Designer: Ian Barnard

Choreographer: Jess Williams

Company Stage Manager: Alec Reece

Deputy Stage Manager: Edward Salt

Assistant Stage Manager: Emma Hardwick

Wellbeing Facilitator: Hester Evans

Cast includes Dan Bottomley, Joe Butcher, Celia Cruwys-Finnigan, Imad Eldeen, Phylip Harries, Alice McKenna, Ryan Owen, Steve Simmonds, Chioma Uma, Georgina White

Running time: Approximately 2 hours and 20 minutes (inc. interval)

Image Credit Richard Hubert Smith

(5 / 5)

Taking two children (11 and 12) to see a production of the Dickens classic ‘A Christmas Carol’ and knowing nothing about the production was a risk.  I’d heard it was quite long, I was worried it might be very dour and maybe the language would be inaccessible for youngsters.  I’ve also experienced other Christmas productions which were quite ‘arty’ interpretations of classic tales (e.g. The Lion, The Witch and The Wardrobe – when during the interval I heard a child ask their parent ‘Mummy what’s an Aslan’?) and clearly went way above their heads.  So, I was fairly surprised to see a variety of instruments on and before the stage as we came into the comfortable auditorium.  I was also reassured to see a detailed set of a traditional snowy, Victorian street scene, as I’d feared a minimalist, abstract set that might not convey the oppressive Dickensian atmosphere.  The opening seconds of the performance also did not disappoint – a dramatic musical flourish and a burst of coloured light revealed the silhouette of our ‘protagonist’ complete with tilted top hat and heavy winter coat.  And that readers, was the end of all the traditionalism……

‘He’ was not a he at all – this Cardiff dwelling, Ebenezer Scrooge (or Ebbie) is a cello-playing, powerhouse of a woman with the stature and stage presence to intimidate all but the bravest of souls.  Hannah McPake strides around the stage, glaring and hollering at anyone who tries to drag her into the spirit of Christmas and merely laughs at the impending threat of her three night-time visitors. 

It’s difficult to know where to start reviewing the rest of the cast – each of them taking on at least two but most often four or five other characters through-out the show – but undoubtedly what they all have in common is an abundance of talent!  It is honestly breathtaking the quality of the acting, singing and musical skills we were treated to by this accomplished cast.  We had a harp, an accordion, a saxophone, we had puppets, we had slapstick comedy, tears and anguish, romance and West-End quality voices from a cast of only 8 and there wasn’t one amongst them that didn’t add to the richness of the experience we had in the Sherman Theatre that evening.

The subtle beauty of the ghost of Christmas past (Catrin Mai Edwards) – beautiful Welsh vocals and evocative storytelling had me transported to Victorian Cardiff and entranced.  Then, listed only as ‘Apprentice Actor’ in the programme, our hearts were all broken by the perfect tones of Madalena Juma as Ebbie’s Mum forced to give him up as she was sent to the Workhouse.  ‘Apprentice’ she may be, but she is definitely mastering her craft most ably as she held her own amongst this accomplished company.

After the emotion and the drama of the past, and still laughing in the face of her past crimes and misdemeanours, Ebbie and the audience are confronted with (or maybe ‘assaulted by’) the Ghost of Christmas Present…..what can I say about Owen Alun as the Ghost of Christmas Present?  There are no words – suffice to say that EVERYONE needs a ‘Ginger North Walian’ in their lives at Christmas (and frankly all year around!).  No spoilers here – you have to experience it!

In a very modern backstory, we got insight into the reasons behind Ebbie’s notorious miserliness and the drama was built as we thought the Ghost of Christmas Present had finally cracked through her hard shell and Ebbie would be saved from the torment and chains endured by her former business partner Marley, but alas she soon slipped back into her old ways.  Bring on the mighty Ghost of Christmas Future! 

The creativity of this production is wonderful – the four ghosts (including Marley of course) could not be more different – they are humorous, enchanting, ridiculous and terrifying and take the audience on a rollercoaster of emotion through-out the nearly two-hour production.  There is so much attention to detail in the set, the costumes, the vulnerable delicacy of the puppet children, the music and the songs – it combines to make a perfect evening.  Last Christmas I had the pleasure of seeing Disney’s Aladdin at another venue in Cardiff – the big budget spectacular was incredible and left me feeling joyous and uplifted, but I can honestly say that the exuberant feeling as I jumped to my feet to explode into applause with the rest of the audience after this production, was absolutely no less life-affirming and the first thing I did when I got home was have a look to see if there are still tickets available to go again!  This is pretty much a first for me – I don’t think I’ve seen any production twice in my life!  It was heartening to hear that my 11-year-old son and his friend loved it to, and he’d also be willing to spend another evening in the company of this incredible cast!  Oh, and if you’re wondering who his favourite character was?…….That well-known Dickens character – the business bauble!  You’ll just have to go and find out for yourself!

This is a play – by JM Barrie, the author of ‘Peter Pan’ – that shouldn’t work today. First produced in 1920, it puts stereotypical characters into conventional settings and develops conversations between them in dated, middle class English. There is no direct conflict and the use of clichéd idiom and vocabulary is stifling. On top of this, the plot splits between two very different places and then takes fifty years to completely unravel.

Yet it does work. Barrie prompts you into reconsidering some time-honoured and appropriate literary themes. This may be because in ‘Mary Rose’ he deploys a crude form of surrealism, using it to open up another dimension behind the mind-numbing realism.

A little girl goes missing on a small island during a family holiday. After a month she reappears, unharmed and unconscious any time has passed. Since her parents are overjoyed to have her back, this mystery is accepted. Because it is never explained, though, sitting in the audience you try to rationalise it. Is it a reference to the number of children who died in childhood before the advent of modern medicine and hospital treatment – and of how a century ago parents simply had to cope?

Because of their daughter’s brush with death, the parents in the play are overly protective of her. They worry about her getting married. She does, however, and at first everything goes well – she has a baby boy – but when she persuades her husband to take her back to the island where she once disappeared – she disappears again, this time apparently for good.

You puzzle over Barrie’s intention. You think perhaps now he is referring to how often women died in childbirth before antibiotics were discovered. But huge numbers of young people had died in the flu epidemic that followed the First World War. A lot of households had to deal with losing their daughters as well as losing their sons. The mystery in the play echoes a social environment where a generation grew up with its members not having known one or both of their parents.

‘Mary Rose’ doesn’t wallow in sorrow. Mary’s parents and husband get on with their lives. The family maid becomes a surrogate daughter and is promoted to being a paid companion for Mary’s mother. But, in yet another twist irreconcilable with everyday reality, Mary returns after a quarter of a century. She is unchanged and, again, doesn’t know what has happened. Of course, everyone close to her has aged to the point at which she cannot recognise them – even though they all recognise her. Trying to grasp the situation, you consider the issue of mental stability. Mary is like someone who has gone mad, still believing herself to be young when she is middle-aged. The unhappy atmosphere in the family re-union thus becomes realistic and credible, even though the route the story has taken to set it up has been fantastic.

To round the play off, the story fast forwards in a movement reminiscent of ‘The Winter’s Tale’ –
‘Impute it not a crime
To me or my swift passage that I slide
O’er sixteen years, and leave the growth untried
Of that wide gap, since it is in my power
To o’erthrow law and in one self-born hour
To plant and o’erwhelm custom.’

Only Barrie’s story skips another twenty-five years, to the return of Mary’s son, Harry, to the house of his grandparents. There he encounters his mother, now a ghost.

A play which reminds you of the quote you learned for your A level English exam can’t be all bad. ‘Mary Rose’ is not on the scale of a Shakespearean play, but it gets away with what might just be a device – the use of unreal passages of time – to force consideration of family life – at this point, a kind of climax – reconciliation. The long-lost son is allowed a (brief) meeting with the mother he never knew, while she discovers her son has led a full life, a discovery that allows her to disappear forever – happy at last. Barrie succeeds in infusing his story with some poetry – as he had earlier with ‘Peter Pan’.

You could leave the theatre thinking about how surrealism never really got going in England, perhaps because of our insular attitude towards Europe, perhaps because our intelligentsia didn’t speak any foreign languages. You might also want to wonder why Barrie, who was very well connected with the other literary figures of his day, is no rival for Chekov, who was born in the same year. He’s hardly an English Ibsen, either. But whether you’re interested in its background or not, the York Actors Collective deserves congratulations for reviving a play that is so little known. (They won’t have earned much for their work, either, as it only resulted in a short run in a studio space.)

The Collective managed to wring the few laughs there are from the script. They made the stuffed shirt characters more or less sympathetic. The scenes didn’t drag as they might have done and the conversations, although clunky and predictable, rattled along without the need for overacting. The addition of a slight Australian accent for Harry, and a Hebridan brogue for Cameron, the gillie who accompanies Mary and her family to the little island, added colour. I didn’t find the portrayal of Mary’s husband, Simon, convincing but it is nightmare role to play, as he – a naval officer – is completely devoid of personality. The set was minimal but adequate for a studio production. The period atmosphere was caught by a few items of furniture and the appropriate clothing.

Theatres shouldn’t run too many revivals at the expense of new work, but there are a number of plays out there which are unfamiliar to the general public. Given the right kind of treatment, venues will benefit from putting them on. We saw this with the National’s ‘An Inspector Calls’ a few years ago and also with Theatr Clwyd’s production of ‘Rope’ in July this year. More, please.