Stephe Harrop

The upstairs room of the George Tavern is one of those places you read about in books when you were a kid…

The Midnight Matinee is a scratch night that kicks off at midnight and promises a mixed bill of new work, work-in-progress and general experiment.

Somewhere in all this, there’s a neat, touching, melancholy little musical, about shifting from the black notes to the white, and believing in the possibility of happy endings, despite experience.

The Cows Come Home is an enigmatic experience that resonates in some place deeper and stranger than the intellect.

The Only Girl in the World insists upon the importance of remembering the real people who get lost when public horrors shatter hidden, private lives.

Witchcraft is definitely not for the linguistically faint-hearted, nor for those who can’t handle a few clunking plot-devices.

In the end, Tinderbox is an entertaining and strangely uplifting little piece, if scarcely profound.

In this tragedy without a chorus, Murray’s open-mouthed mask remains mute, and no amount of impassioned testimony can bring the sprawling drama to any sort of resolution.

Sam Walters has unearthed a monumentally unfashionable old play that packs a hefty moral punch, and asks questions about the cost of personal freedom that many a liberated (post)modern would baulk at.