STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
NUMEROUS versions of Edmond Rostand’s 1897 play about the hot-blooded 17th-century swordsman, poet and philosopher, cursed with a nose of excessive proportions, have filled hours of stage and film time.
This latest version by Bristol Old Vic is a fun-filled, triumphant addition.
With a nod to commedia dell’arte, Peter Oswald’s translation and Tom Morris’s direction inject a lightness of touch, while contemporary references shift the production away from any specific time period.
GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
DAVID NICHOLSON recommends a dazzling production of Bernstein’s opera set in a world where chaos and violence are greeted by equanimity


