"The dialogue is simultaneously so realistic and so weird and the characters and themes felt like they would really ring true to a student audience."
"Miss Moffat plucks Morgan Evans out of the mines, trains him to speak like a gentleman, and stuffs his head with Adam Smith and Voltaire. It’s like My Fair Lady, but gender-swapped and very, very Welsh."
As a show with only two characters, the use of four actors in this production was truly innovative. It was able to showcase their talent in the best possible way, highlighting the actors’ strengths while elevating the characters to a level above how they have been traditionally interpreted on stage.
It is a poignant exploration of how couples in failing marriages perpetually struggle to see eye to eye and are so often operating, portrayed quite literally here, on differing temporal planes.
suspense, tackling intense themes of mental illness, sexual violence, and survival that may be difficult for audiences to process. Though the scenes do not explicitly depict such situations, it is a credit to the performances by the cast and crew that the effect of these moments linger long after you leave the Playhouse.
When I think of stage classics, productions like Les Miserables, The Lion King, and Wicked come to mind. These are all shows which hold...
'It is lovely to see theatre reset after so long, but it is inspiring to see it revive and attempt to do better.'
'Our narrator’s tone of voice sways between the revelatory and the didactic, the divine and the desperate, so that our first job is to work out whether we are watching a man or a god.'
'The university-set dating satire provides a perfect balance of authenticity, heart and nuanced observations on student sexuality.'
'For a student work the topics discussed are close to home. It’s why the promise of a grounded and tender depiction of undeniably important years works so well. The piece made me feel like that time could be a bit more real, and so a bit more manageable.'
"Lost Connection, as a production, effectively memorialises the issues and troubles that lockdown caused all of us, whether in the world of performance or not."
'Spencer’s script never tries to be overly clever or conceptual, instead relying on its innately heartfelt character development and engaging humour.'
"It’s the sort of production that would make even the most timid want to get involved in Oxford drama – and that’s in earnest." Hari Bravery reviews the Trinity Players' recent production of Oscar Wilde's classic farce, 'The Importance of Being Earnest.'
"I didn’t sit back and enjoy the show. And I ended up with a lot more opinions than I had ever expected four pieces of 21st-century choreography to evoke." Patrick Gwillim Thomas discusses the Royal Opera House's newest choreography project.
"'Half Baked' passes the Bechdel test with flying colours. It is truly a feminist triumph and is so refreshing to see an all-female cast on an Oxford stage—something of a rarity, especially in the genre of farce." James Newbery reviews the first live post-Lockdown show in Oxford, "Half Baked" by 00Productions at the North Wall Arts Centre.
"The Arnolfini Portrait was an intricate, sophisticated project with a controlled yet bold execution. Every element of sound was carefully considered, and I took great satisfaction in being guided along Jean’s journey through the various mediums of sound." Beth Ranasinghe reviews the audio production of "The Arnolfini Portrait" by The Industry Magazine Podcast.