Post by joem on Mar 10, 2018 13:54:31 GMT
Fairly straight adaptation by Simon Dormandy of EM Forster's classic novel.
Performed with few props this is a solid if unspectacular ensemble piece. My main criticism is it is overlong. The play's narrative climax is surely the courtroom scene, in this production it happens about midway into the second half, making it for a rather long winding down-cum-epilogue.
Standout performance is by Liz Crowther as the saintly Mrs Moore but Asif Khan (slightly older than I would have had him) gets the bumptious enthusiasm and, later, the bitterness of the Aziz character just right. Richard Goulding also good as the principled Fielding but there are no bad apples here.
Plenty of contentious waffle in the programme, if you like that sort of thing, pretty much belied by the performance. But that s very common these days.
To the lady and gentleman who at behind: I am sure your experiences of Rhodesia were fascinating, but you may wish to discuss them in the comfort and privacy of your living-room rather than in the middle of a performance for which people have paid good money to see.... and HEAR.
Performed with few props this is a solid if unspectacular ensemble piece. My main criticism is it is overlong. The play's narrative climax is surely the courtroom scene, in this production it happens about midway into the second half, making it for a rather long winding down-cum-epilogue.
Standout performance is by Liz Crowther as the saintly Mrs Moore but Asif Khan (slightly older than I would have had him) gets the bumptious enthusiasm and, later, the bitterness of the Aziz character just right. Richard Goulding also good as the principled Fielding but there are no bad apples here.
Plenty of contentious waffle in the programme, if you like that sort of thing, pretty much belied by the performance. But that s very common these days.
To the lady and gentleman who at behind: I am sure your experiences of Rhodesia were fascinating, but you may wish to discuss them in the comfort and privacy of your living-room rather than in the middle of a performance for which people have paid good money to see.... and HEAR.