As always with Stoppard the themes are big – but mainly it’s a study of the various social freedoms and restrictions that go hand-in-hand with both communism and democracy/capitalism.
Factory Space Theatre has excelled itself with Terry Johnson’s ‘Hitchcock Blonde’, a speculative, pseudo-psychoanalytic probing of why one particular gentleman preferred blondes.
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.