Where the writer has succeeded here is in creating in-your-face characters: real enough to be arresting, bizarre enough to be intriguing. Where she's failed is in taking it anywhere at all.
Chekov. Bell. Blanchett. Gore. Roxburgh. Weaver. Weaving. Not to mention Anthony Phelan and relative newcomer Hayley McElhinney (hey, I said relative). Can you go wrong? Not really. Well, certainly not far.
Funny and discomfiting, occasionally sweet but more often just bitter (and certainly never bittersweet), Rhinestone Rex & Miss Monica could best be described as a romantic comedy for those who don’t really like romantic comedies.
The wild west, the west of folklore and dreams, and the “true” west of ’80s America mingle and merge impeccably in this outstanding production that goes above and beyond all the hype to achieve something that’s truly extraordinary.
A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.