Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
ADAPTING Oscar Wilde’s only novel for the stage is no easy task but writer Lucy Shaw has done so with aplomb and originality.
While there’s a certain confused busyness towards the end, when the characters are caught up in a whirl of events as they rush to the chilling denouement, Shaw has come up with a considered and thought-provoking version of Wilde’s gothic tale.
On a dark, spooky set in which the centrepiece of the story — the changing painting of Dorian Gray — is inventively represented by a frame full of water, there are some genuinely shivery moments as we watch the eponymous protagonist, played beautifully by the suitably handsome Stanton Wright, descend into a trough of debauchery and self-delusion.
DAVID NICHOLSON recommends the staging of this Wagnerian classic minus one or two insignificant quibbles
MARJORIE MAYO welcomes an account of family life after Oscar Wilde, a cathartic exercise, written by his grandson
PETER MASON applauds a stage version of Le Carre’s novel that questions what ordinary people have to gain from high-level governmental spying
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship


