At 73 years old, Humphries is in remarkably good form. While Sir Les and Sandy Stone are still fresh, Dame Edna lacks some of the satirical bite and depth of character that made her a megastar.
In Berlin, on May 4, 1945, these boys are awakening to the fact that the game they were engaged in just a few weeks ago, which lends the play its title, is being played-out for real, in the streets above their manhole.
The creation of expat Swedish actress Danijela Hodges, Thore House is set in an erotic nightclub and tells the interwoven stories of several of its denizens.
While there’s more than a smattering of sparkling one-liners, too many are laboured and teetering on cliché. The references to the musical whose name the play parodies are scant and practically pointless.
Howard Brenton’s play Paul is the extraordinary story of St Paul, whose faith and fanatical commitment, in the playwright’s view, was as important in establishing the Christian religion as Christ himself.
City for Sale is a slick modern comedy based not so much on an Orwellian ‘Brave New World’ as a Swifter version of a past one, back to the future of feudalism.
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.
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.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
Blind faith and rational belief are always sparring partners in dramatic conflict and so it is here with the power play tinged with superstition and salaciousness.