Reaction to our shows : 2012
Here's a selection of comments we received on our productions in 2012 ...
The Mystery of Edwin Drood
Last nightís performance of The Mystery of Edwin Drood by the Tower Theatre Company was perfect for getting into the Christmas mood ... if you want to get into the Christmas spirit, and prefer your panto to be more inventive than Aladdin, I suggest you practice your cheers, boos and hisses and get down to Theatre Technis. You wonít be disappointed.
... if you're looking to watch a show that's vibrant, belly achingly hilarious and if you happen to love a bit of audience participation, then this is the show to go to ...
... this performance is fast paced throughout. The music and singing is impeccable and well suited to the period, every member of the cast, orchestra and the techies behind the scenes, encapsulates the period perfectly.
(Review in Remote Goat by Eleni Young)
Just sometimes, the best of amateur companies come up with a production which puts in the shade all those
numerous Fringe productions with pretentions to "professionalism" put on by out-of-work drama graduates and thespian bottom-feeders. Endgame,
in the Tower Theatre's blisteringly good presentation, captures every flicker, every nuance in the mysterious relationship between Hamm and Clov.
(Review in Broadway Baby by Peter Scott-Presland)
I thoroughly enjoyed this production of a true classic and important play and wholeheartedly recommend anyone to go see it.
(Review in Remote Goat by Hassan Vawda)
Thank you for your production of On Religion. You and the wonderful cast did a great job with it. We found it moving and powerful -
it was a really impressive achievement, and worked beautifully in that space with your videos and soundtrack. Thank you!
(Co-author of On Religion, Professor A.C. Grayling)
The production values were exemplary and one would be hard pressed to fault this performance.
This show had what appeared a simple set ... until the back wall morphed into a screen and the most amazing of animations played out
all through the performance ... the detail that went in to them was astounding. Cleverly used to represent different scene settings,
they added a whole new dimension to the characters just by what was represented there.
The cast was well-chosen, with each actor
embodying the flaws and characteristics of their role perfectly.
Director Victor Craven did a splendid job and must be thoroughly praised for sensitively and successfully guiding these talented performers through
what could be seen as a minefield of a show.
("The Countess" in Sardines magazine)
David Copperfield in Cornwall
Thanks everyone for the performance last night. My husband, daughters and I enjoyed the evening greatly.
I don't know how you manage to arrange the weather to be so lovely each time we come though!
The company moved the sprawling narrative through its many stages with such briskness and confidence that the audience remained
wholly engaged and entertained. To be able to turn out so many very capable and assured performers - many of them doubling as musicians -
is testament to the quality of the Tower Theatre Company as a whole. The Director's handling of the text and a difficult venue maintained
the necessary pace of action effectively - keeping the cold of Cornish granite and wet earth at bay for the audience."
... Daniel Watson as the ever so 'umble Uriah Heep, was spot on ... Martin Shaw as the beaming Barkis, John Chapman
as the ever well intentioned Micawber and Dom Ward as the sneering adult Steerforth gave fine performances ...
David Copperfield in London
Thanks to all for a wonderful performance
of David Copperfield at the Bridewell Theatre last night. An excellent cast (adults, children and dog) all extremely well directed and backed up by musicians and
hardworking backstage crew who all combined to give us a thoroughly entertaining evening.
Please pass on my congratulations to a fantastic cast and crew for a wonderful show.
The creative decision by director Penny Tuerk for all three Davids (Freddie Norris, Will Norris and Alex Buckley) to share the stage works very well, and special notice should go to Buckley, who, as the adult David, is on stage throughout.
There are some brilliant comedic turns from Sue Brodie as the forthright Betsy Trotwood, Peter Novis as the absent-minded Mr Dick, Daniel Watson as the conniving Uriah Heep and John Chapman is fabulously camp as the charming but feckless Mr.Micawber ... you canít fault the productionís ambition and palpable enthusiasm.
Baba Shakespeare in Stratford
The Tower Theatre Company felt at home in the large Courtyard Theatre and the measure of their success was that there were times when I
genuinely forgot I wasn't watching the RSC and had to remind myself that this was an amateur theatre production.
(Robin Simpson on Cultural Dessert)
Ray/Peter was played by Roger Beaumont. His portrayal of a tired and harassed man who has managed to rebuild a life at work and at home after four years in prison who then unexpectedly finds himself confronted by an angry, scornful woman he does not at first recognize was excellent. Totally credible - in spite of what he had done it would have been hard for the audience not to empathise with him.
Jill Ruane also had a huge task to make a truly believable character of Una. Again, she struck just the right balance in a performance that went through a whole gamut of emotions, with an incredibly harrowing description of the event that led to the end of their affair and Rayís conviction. The anger and sorrow underlying her need to confront Ray was overlaid very skillfully with the other emotions Una experiences as the play progresses.
The set Ė an office/staffroom was very realistic. So much so that it was difficult to imagine that it was not permanent. Windows onto a
corridor also reminded us of the outside world, with 'staff' making an occasional appearance.
Commendations to Tower Theatre for their excellent production.
(Alex Wood in Sardines magazine)
Tower Theatre Company is one of London's (and probably the UK's) foremost societies continually producing the kind of theatre that
ever-threatens to merge the line between amateur and fringe/professional theatre. When it came to the RSC Open Stages project,
not surprisingly, the company decided to think well outside of the box ...
this was a production full of atmosphere transforming rainy London into 1960s India. With sublime attention to detail an absolute
masterstroke of this piece was the thoroughly accurate choreography (and costumes) employed during several dance routines throughout
the evening ... this production was a joy to watch.
In a truly ensemble piece, there really were no weak-links.
In fact I donít think Iíve ever seen Tower release a "weak-link"
onto their stage!
(Paul Johnson in Sardines magazine)
The sheer volume of different characters, situations and art forms presented in this show was astonishing, and the merging of two entirely different worlds Ė India and Shakespeare - was extremely successful. At the end of the night I left the tent having been truly entertained in every sense of the word Ė I had seen dancing, re-lived some of my all-time favourite Bard scenes, been serenaded by wooden monkeys and had now to return to the cold reality of British rain and 149 bus stops
(Storme Toolis for One Stop Arts)
Moonlight and Magnolias
This was a well-directed production with good use of space and great interaction between the three men. Director Despina Sellar and
her cast deserve full praise for conveying the uncertainty of the film business and the wider world beyond the confines of Selznick's
office. Frankly my dear, I loved it!
(Cheryl Barrett in Sardines magazine)