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Animal / Stitching / The Bogus Woman / The Censor
On Animal
“Animal stands comparison with the finest of 20th-century plays….Goldman’s
Red Room company, which has produced this presentation… once again confirms
its reputation for both theatrical and political outspokenness. Adshead makes
you want to take to the streets while you still can.” - Financial Times
(****)
“Kay Adshead’s new play, could hardly be more timely…. provocative
stuff given a brooding production by Lisa Goldman….there are bold, dreamlike
images, memorably illustrating Adshead’s vision of a state that tranquillises
its own citizens rather than let them express their rage.” - Time Out
“sensitive… thought-provoking…..lucidly directed with ghostly
CCTV footage… beautifully played… “ - The Independent
“Adshead writes with immense imaginative empathy…..superbly vivid…
wickedly laced with humour… evocative images…. committed cast…..
this is a refreshingly alive and thought provoking piece of political drama.”
- The Stage
“[Animal] raises our awareness of the dangers of the psycho-pharmaceutical
industry… a host of important questions…fascinating… indebted
to Lisa Goldman’s production and understated performances” - The
Guardian
“Refreshingly ambitious… provocative” - Evening Standard
“Disturbing… sinister… subtle and well written…”
- The Times
"Neilson's Stitching is the talking point of the fringe and one of the
most exciting plays of the year. Startlingly rich and challenging , Neilson
depicts with aching precision a relationship in which love is undermined by
distrust. McKee and Boyack are extremely impressive. I left the theatre with
my pulse, and my mind, racing." - Time Out
"Anthony Neilson's new play explodes with power, discipline, integrity
and sheer cruel psychological accuracy….. Neilson's writing has a terrible
beauty…he directs with impeccable clarity and objectivity and the acting
blazes like subterranean fire" - The Sunday Times
"Neilson's Stitching is the talking point of the fringe and one of the
most exciting plays of the year. Startlingly rich and challenging , Neilson
depicts with aching precision a relationship in which love is undermined by
distrust. McKee and Boyack are extremely impressive. I left the theatre with
my pulse, and my mind, racing." - Time Out
"Anthony Neilson examines the way we love now with his exquisite brand
of bruised tenderness. A brave play, acted with enormous bravado by Selina Boyack
and Phil McKee" - The Guardian
“Kay Adshead’s angry stripped-down script bleeds humanity….
Words in Adshead’s hands are bullets. Brace yourself and see this play
– preferably with Jack Straw strapped in beside you” The Independent
“so meticulously well done, so superbly performed by Noma Dumezweni and
so manifestly based on the indefensible facts about what is happening in British
detention centres now, that even the most dedicated reactionary would find if
difficult to turn away in indifference. This a beautifully crafted work, designed
to make British people feel sick with shame at what is being done in our name;
and by God it succeeds” - The Scotsman (Fringe First Award)
“The Bogus Woman is a play of the highest calibre: enthralling, inspiring
and beautifully executed." - Time Out
“…a powerful, passionate committed piece of theatre that if seen
widely enough might change hearts and minds. If I were Greg Dyke, I would put
it on straight on BBC TV and invite Jack Straw to respond in the course of a
properly focused rational debate”
“You don’t often hear people crying in the theatre. But you
do during The Bogus Woman. Kay Adshead’s play is a body blow…..delivered
with top-velocity grace by Noma Dumezweni.” - The Observer
"Kay Adshead's devastating, well researched play.... At the end of the
evening I went, the audience was so moved, that for a while the applause was
shocked into silence. Political theatre is alive again." - The Evening
Standard
On The Censor
“This play is poignant, funny, brilliantly controlled and profound”
- Daily Telegraph
“This three-hander is as clever, and considerably less loaded than Oleanna
and as topical as Pop-corn. It is more unsettling than both, but in its own
weird, urgent way almost beautiful.” - Lyn Gardner, The Guardian