Reaction to our shows
Here's a selection of comments we received on our productions in 2013 ...
Goodnight Mr. Tom
Goodnight Mr Tom ... is a treat for the whole family, as it balances its dark undertones with its celebration of friendships between people.
The Tower Theatre Company actors deliver convincing and tender performances, navigating through emotive scenes with ease. In the country Villagers gossip as they carry props on and off the stage while the return to London is stark and dark in comparison, silence marking these exchanges ... the power of this show is in its simple retelling.
(Nathalie Raffray in the Islington Gazette.)
What an accolade it is for the Tower Theatre, the only full-time amateur company in central London, to be the first such group to stage Alexi Kaye Campbell's The Pride, just on the tail of the professional revival at the Trafalgar Studios in the West End. With its 80 year history, the Tower has a solid track record of being a match for many fringe productions – often better!
It is a testament to the skill of these actors that they are able to switch, often quickly, between the very different characters in each time period, with the help of the excellent period costumes and clipped accents, leaving no doubt as to where we are. Director Jane Dodd has created a sterling picture, on a Mondrian-inspired set, where the two worlds meet and collide.
(Joe Crystal forr Remote Goat. Awarded 4 stars.)
The actors have a tough job jumping in and out of these very different characters but manage it seamlessly and deliver genuine and emotive performances with every change and stay true to the characters. The Tower Theatre Company has created a brilliant production and it is definitely worth seeing, you will learn something if you watch this and I recommend you book your tickets now.
(Haydn James for LondonTheatre1.com.)
What happened when, where is the next clash coming from and who dominates whom - and why? (The) Winterling is rich with such strands and in really competent hands - those of this cast with this director - it's a delight. Not an innocent delight, but a delight for all that. Don't miss it!
(Chris Bearne for Remote Goat. Awarded 4 stars.)
Entertaining Mr. Orton in Edinburgh
Entertaining Mr Orton is hilarious, dramatic, perfectly paced, exceptionally well-acted and beautifully written ... the piece is incredibly well-balanced, hilarious as it is ultimately sad,
silly as it is profound and as good a depiction of the playwright as it is explosively entertaining.
(5 star review by Julian Joseph for Three Weeks Edinburgh)
At the heart of this finely tuned play's success is Jack Burns's lead performance, absolutely inhabiting the laconic Orton, heavy fringe and
needle-sharp twinkle of bloody-minded mischief in his eyes. Even the campness of his demeanour is subverted by the cloud of disdain orbiting him at all times.
Martin Mulgrew's script is canny and controlled, a summation of Orton's later months delivered in a distinctly Ortonesque style of its own, all cynicism
and laughter in the face of humanity as it moves around him.
(From the review by David Pollock for The Scotsman)
This is a fast-paced production that uses humour most effectively with a powerful dramatic ending, and the audience loved it.
(Review by Robin Strapp for The British Theatre Guide)
Dying For It
A triumph! A cast of 12 delivered a tremendous ensemble performance, with many fine individual performances.
In the hands of the Tower Theatre Company, director Robert Irvine and a talented cast of twelve working well together, it's excellent theatre ... I laughed a lot, but as in all the best comedy – if that's what this really is – there's strong underlying seriousness. And Buffini's powerful surprise ending is anything but funny. Dying for It is an interesting play performed here to a commendably high standard. Warmly recommended.
(Susan Elkin for Sardines magazine)
In the lead, Justin Stahley brings great energy and commitment to proceedings. His is the most commanding performance of the evening, in which he captures the absurdity of his predicament with great skill.
(David Balcombe for One Stop Arts)
Speaking in Tongues
Speaking in Tongues is an amateur revival staged by the brilliant Tower Theatre Company. Since I've lived in central London I've seen a number of their performances. They have a record of resurrecting really strong dramas you wouldn't otherwise see ... this is a well-acted and produced piece. Situated in an underground theatre just off Fleet Street, everything about the production is slick and convincing. They don't make the mistake – as the professionals did – of having the same actors play different characters (as if the play weren't confusing enough). Not that I've any doubt that the actors themselves would have managed it – a number of the Tower ensemble (Julie Arrowsmith, Craig Carruthers and Andrew Steele) easily give their West End counterparts a run for their money.
As far as this play goes it's hard to imagine a more illuminating production.
(Review in EC1A Review)
This was a brilliantly written play, splendidly acted by a strong cast.
(Patrick Neylan for Sardines magazine)
It can be difficult to imagine anyone but Julie Walters as Rita after she nailed the role in the 1983 film version of Willy Russell's Educating Rita. But Sarah Sharp puts in an admirable performance at Theatro Technis ...
Ian Recorden is perfectly cast in the role of the bitter alcoholic English lecturer, and he physically slumps into the worn leather armchair of his dusty, musty office ...
Gigi Robarts' direction is tight within the attractive set created by Ippolita Valentinetti.
A fun and lively production from the Tower Theatre Company.
(Amy Smith in the Camden New Journal.)
The Taming of The Shrew in Paris
Every minute of The Taming of ther Shrew was a delight. A wonderful group of actors -
Shakespeare would have been proud of it. We are already looking forward to next year's treat.
Incredible show last night, thanks to the amazing artists for the great performance!!
It was my first time but will be there next year for sure... :)
Thank you so much for the delightful play.
Without exception, everyone enjoyed the play and participated actively in the question and answer session at the end and we all felt very privileged that members of the cast came to talk with us
as we were enjoying a picnic afterwards. Thank you all very much indeed.
The Taming of The Shrew in London
That was a wonderful performance: the staging, the music, the clothes, the whole concept. All the acting was outstanding. Every single actor was wonderful. You were great. You made me laugh a lot. I think it was one of the best theatre evenings I've ever enjoyed. That show should be in the West End - at least. Congratulations!
We had a great time at the show last night. Fantastic performances and so funny. I laughed my socks off. The kids really enjoyed it as well!
Great show, great acting and great style.
A fine performance of fine material. Who could ask for more than that?
Jump to Cow Heaven
The gradually developing romance between Lisa and Frank is a joy to behold. The final scenes, especially the "Christmas Party", Lisa's nightmare and the final farewell (which explains the title of the play) are extremely moving.
As well as the director and the cast, credit must also go to Wendy Parry for her authentic recreation of a seedy gangster's flat in the Theatro Technis.
(Matthew Partridge for Remote Goat. Awarded 4 stars.)
The Prisoner of Second Avenue
There are great gags, warmth and humanity, all brought to life in the Tower Theatre Company's confident production. Intelligently directed by Colette Dockery, this sparky and finely acted revival has lots of dark comic humour amid the existential angst.
(Siproa Levy in the Camden New Journal.)
The Voysey Inheritance
The Tower Theatre Company has been a major presence in the amateur theatre scene in London for more than three quarters of a century. In truth their "amateurishness" only applies to financial status, and they are great examples of that definition of amateur as those who genuinely love that in which they become engaged. So all power to them for the encouragement and opportunities they provide, and for keeping alive parts of the repertory that only the major subsidised companies could otherwise afford to embark upon.
(David Balcombe for One Stop Arts)
Claire Garrigan as Melanie Klein is stunning. When Mrs Klein breaks down and cries, Garrigan somehow manages to elicit both sympathy and suspicion ... A very classy production.
(Review in the Camden New Journal by Amy Smith)