ANGELS DINING AT THE RITZ 2011-2013:
". . . A pacy, rewarding show in which everyone can find something that makes them feel at home . . . The Talk of the Town may be long gone, but talk (and song) of the town proves to be as good today as ever it were" Broadway Westend World. See Review HERE
THE MAGNETIC LADY 2010:
"The White Bear Theatre’s ambitious Lost Classics series has been responsible for some fascinating finds. Their latest revival is Ben Jonson’s late play, . . . this revival makes a strong case for the play. Blessed with some excellent comic performances this energetic and uplifting production is a gamble that has paid off" Theatre Reviews at MusicOMH.
"The White Bear theatre has a mission to resurrect lost classics. Such an endeavour can be foolhardy, but not in the case of this spirited revival of a late Ben Jonson play that has been effortlessly transported to the decadent thirties" The Stage. See review HERE
"The genius of this production is to set it in the 1930's . . . lifting its tortuous twists and turns with sparkle and froth to give a surprisingly modern feel to this farce". Extra Extra! See review HERE
"Caroline rarity could be something of a draw" Tim Ramsden. Reviewsgate. See review HERE
"This is a wonderful show. Four of us (all discriminating theatre-goers who don’t always agree) saw it last night and we all enjoyed it immensely. Despite the occasional “wordy” patches, this is a great discovery; a Jonson play packed with wit and delivered with panache by a well-directed and largely excellent cast . . . casting decisions were spot on; line delivery was almost always excellent; and the 30's costuming supported the design concept brilliantly; the updating of this period play seemed unforced and totally appropriate. Of course the space limitations work against it, but this production is easily as worthy of a West End transfer" John Buckingham. The Audience Club.
"This is a fantastic adaptation of Ben Jonson's play. It's highly accessible and the 1930s setting works perfectly. It is very clear and there is no need to fear the language. . . Definitely one to see". Anon. The Audience Club
SHAKESPEARE'S WOMEN 2009:
"This ensemble of actors proved to be a tight and successful unit. . . The work is a fine example of how Shakespeare's words can be manipulated into new incarnations yet still 'work' when taken out of context". British Theatre Guide. See review HERE
“thoroughly enjoyed” Shakespeare's Birthplace Trust
BURLINGTON BERTIE 2009:
“The hugely versatile actress and singer revives the Empire's music hall heritage . . . Side-splitting comic mastery and characterisation is on the cards” Hackney Gazette
"I saw the show Burlington Burtie, it was excellent, I enjoyed it very much singing along I felt good and part of the show. Looking forward to something else in the future. I brought a friend along and she enjoyed it also. It may have open her up to go to the Theatre . Once again thanks. Satisfied member of the public. Keep on doing it Hackney needs more of this kind of show". Leonie Philips (Audience Feedback to Hackney Empire)
It was a really lovely show. Funny how I knew most of the songs even tho I am young-ish. Loved the audience interaction and the backdrop of photos and old film from the period. (Audience Club)
We thoroughly enjoyed Darrie Gardner's performance in Burlington Bertie at Hackney last week. I was particularly interested as I am a music hall buff and myself do coach tours about musical London and know most of the songs used. I thought it was a good idea to weave a story through the songs, so imaginative, and audience participation was great. Super quick changes, the use of two parasols for the wheels of the donkey shay were wonderful. A really enjoyable afternoon. Sing a song 'O' London
MEASURE FOR MEASURE 2009:
" It was a treat to see Shakespeare's work performed in the first of his riverside theatres" 3 star review Remote Goat. See review HERE
" . . . There was certainly much to enjoy. I am always wary of modern dress Shakespeare, preferring the romantic Pre-Raphaelite look, but was surprised how well this tale of corruption and greed sits so well in our materialistic world. Stewart Bewley gave a new slant to Lucio, an ingratiating and oily City trader type - hugely enjoyable - as was Richard de Lisle's Pompey, with great audience rapport . . . Jennie Fox was a beautifully spoken, graceful though fiesty heroine and how great to find a Mariana, in Katie Andrew's finely judged performance, who looked so like her. . . Matthew Wade was a smooth and evil Angelo and Stuart Sessions a beautifully spoken Duke. On the whole it was a thoroughly satisfying experience and great to see Shakespeare back in Shoreditch, a few yards from his home in Worship Street and Burbage's first Theatre round the corner. I would be happy to see more of Lights of London in the future".Joy Levene. The Audience Club 2009
“I'm not in the theatre and I'm don't feel qualified to be a theatre critic, let alone a critic of a Shakespeare performance. I certainly haven't seen enough Shakespeare to compare one production with another. It is my new year's resolution to see more Shakespeare this year. I know when I like something and I know when I don't. I did like Measure for Measure. I thought it was excellent, superb. I liked the casting, the acting and the use of the limited space. There is something delightfully raw about this sort of fringe theatre, which has no scenery, no wizardry - just the actors, really. I can't think of anything negative to say. I'm even tempted to bring a friend to see it at The Rose. It kept my attention. Perhaps more to the point, it seemed to keep the attention of the rest of the audience - a group of teenagers I assumed (though can't be sure) knew the play from GCSE studies. If a Shakespeare production can keep that lot quiet for two hours, it must be doing something right".
Anthony Bailey. The Audience Club
"The Old Blue Last in Shoreditch is wrapped in the enigmatic silk of the old and the new, this old pub stands on the corner of Great Eastern St and Curtain Rd like a dusty long forgotten palace drawing those wispy first few breaths of re-birth. I sat in the downstairs of the pub on Saturday afternoon waiting to go upstairs to watch the performance and I quite enjoyed the leisurely laid back atmosphere around me. The play itself, in true Shakespearian style took an awe inspiring look into the hearts and dealings of humanity. The Lights of London actors and production crew were able to envelop the direness of Shakespearian corruption and the huge gap in the divide of the classes with a touch of the present East End magic. I quite fell in love with the charm and guile of “Pompey”, I can still remember traces of his beguiling smile and swagger; Lucio’s performance was most refreshing and enthusiastic" Karlene Watson. The Audience Club
"Brilliant in your face theatre! Interesting location with temperature to match, I was half expecting Shakespeare himself to make an appearance! Anon. Audience Club
“thought they were all brilliant and loved the old pub!” Anon for Audience Club
DELOVELY 2008:
". . . a very talented entertainer, comedienne, actress and singer. She has a wonderfully rich voice and a great gift for portraying various characters through storytelling and song" 4 star review Remote Goat see Review HERE
“Worth going for the singing and setting alone, Missy D's powerful voice fills the intimate underground space with classic tunes. Changing characters from chavs to centenarians to provide a good old fashioned cabaret of many acts, but just one versatile performer. The sketches, including Adam and Eve-enders, are fun and slide smoothly into songs.... In the end it is the singing that is Missy D's forte, rich and sensual, she warmly embraces the audience with flirty asides between verses. If you get your kick out of Cole Porter this is the place to go to enjoy it, sitting around tables, sipping on champagne” Seth Ewin Three Weeks/The Argus (print)
“... audience enjoyed the divine Missy D’s various characters and vocal interpretations of a song-list, that ranged from Cole Porter to 50’s Rock via Fiddler on the Roof and various jazz standards, performed to backing tracks...Her Hackney teenager with all the vocal ticks and mannerisms of the “ innit tho?” generation is spot on. She has a singing voice of range and tone her-stand out moment comes when sat on a stool she delivers Cole Porter’s “You’re the Top” with wit and charm, and the standard “What are you doing the rest of your life?” with heartfelt intensity...” Dermot McLaughlin, Quidcard Promotions
SHAKESPEARE IN SHOREDITCH 2008:
"The extracts are an excellent way to dive into the great wealth of material and perform some of the most memorable scenes that fully demonstrate the breadth of Shakespeare's work.. . . All parts brilliantly played by actors filled with enthusiasm for the work... Graham Trelfer. 4 star review from Remote Goat. See review HERE
“. . . extracts from Shakespeare are thoughtfully chosen and performed with an energy and timing that suggest the company could carry off a full production of their own. You can catch the show at The Old Blue Last, pretty much on the site of James Burbage’s Curtain Theatre, where a young Will arrived looking for a job all those years ago” Kate Gibney. Hackney Today (print)
“,. . . this production offers a comprehensive portrait of the young man who leaves his wife and children in Stratford upon Avon to seek fame and fortune in London. Back in the sixteenth century there was only one place for something as disrespectable as theatre to exist, that place was Shoreditch. On Curtain Road stood James Burbage’s Theatre, built with his very own hands. By the time Shakespeare arrived it was already showing the works of Christopher Marlowe. Shakespeare's talents went unnoticed while he worked in the theatre stables, looking after the horses and acting as prompt on Marlowe's scripts, until Marlowe, (Matt Gardner), took a risk on the young poet . . . When James Burbage (Michael McEvoy) dies there is a wonderful sense of romanticism as Shakespeare and the other players commit themselves to taking down the theatre and rebuilding it anew. This new building would become the Globe Theatre. .. the script was very cleverly intertwined with facts and content from some of Shakespeare's most popular plays, (The Taming of a Shrew, Romeo and Juliet, A Midsummer Night Dream) ... it is an informative and enjoyable production with a completely competent troupe of actors,.. a well rehearsed and prepared company” Lennie Varvarides. The Shoreditch Map (print)
SONGBIRDS & HEROES 2007:
". . . gutsy, vibrant singing voice, cheeky smile, and full-on commitment to every note and every word . . . overall this is a good show, with infectious music, 100% commitment from a talented singer/performer. It put a smile on the faces of young and "more mature" alike" 3 star review Fringe Review. See review