The Tower Archive
Reaction to our shows
The Tower Archive
Reaction to our shows
Here's a selection of comments we received on our productions over the past few months ...
Superlative production of Kindertransport tonight. Incredible staging and production values and great onstage soundscapes.
All of this before mentioning the spellbinding performances. Congratulations to Angharad Ormond, Ruth Sullivan, Colin Guthrie and all the Tower cast and crew involved
in an outstanding show.
(Audience member J.K.)
Just watched a wonderful production of Kindertransport. Beautifully directed and staged by Angharad Ormond
with some powerful performances, particularly from Ruth Sullivan and Katrin Larissa Kasper. And not forgetting some very imaginative music and sound design from Colin Guthrie.
If you can get a ticket, do go!
(Audience member L.C.)
Important play and beautifully done. Glad is almost sold out. It should definitely have a longer run.
(Audience member E.T.)
Congratulations to cast and crew - it's hugely impressive. Powerful, moving and strikingly, shockingly relevant.
Seriously, don't miss this.
(Audience member E.M.))
Well, that was good. Kindertransport is terrific - see it if you can.
(Audience member S.L.)
A very moving and well acted performance. Was very impressed by the lady who played 'Eva' - very authentic. A great cast, really enjoyed the
use of the piano and glasses for music (eery, made the hairs stick up on your neck a bit) and the use of shadows - really gave me the creeps, no idea how I got to sleep last night.
A fantastic show all round, highly recommend!
(Audience member C.G.)
A terrific production - so imaginative and moving.
(Audience member S.B.)
Under the Blue Sky
... terrific characterisation of Anne (Lily Ann Green), an elderly teacher, and Robert (Leon Chambers), a slightly younger former colleague ...
Chambers portrays Robert as a sincere but charmingly gauche Essex-bloke; Green has a twinkle in her eye and a hint of inner strength and passion worthy of Judi Dench.
Their inhibitions released by music and dancing, Anne and Robert gaze up at the blue sky and dare to dream of happiness. It's heart-warming. How often does "modern" theatre
leave an audience with a prevailing feeling of comforting optimism?
(Review by Claire Seymour for the British Theatre Guide.)
The Importance of Being Earnest
In London ...
After a long and stressful day, the Tower Theatre Company's production of The Importance of Being Earnest was just what the doctor ordered. This absurd little story
never fails to tickle me, and makes me curiously proud to be British - especially when done as well as it is here.
(The Blog of Theatre Things)
This is classic Oscar Wilde wit performed with gusto in this faithful rendering ... The set in this show is gorgeous, with highly different
atmospheres created for a townhouse and a country residence ... A lively and fun production.
(Chris Omaweng for London Theatre 1. Awarded 4 stars.)
In Gloucester, Massachusetts ...
We've got to find a way to keep them. Maybe there's some clause in Brexit : if they leave England, they can't go back.
Talking about London's Tower Theatre Company, which is visiting the Gorton Theatre this week. Smart, crisply performed and thoroughly prepared comedy is hard to come by in the states.
Thank goodness they brought some. This staging of Wilde's preposterous parlor farce was a winner on almost every level.
(Review by Keith Powers for the Beverly Citizen)
Puts you right in Victorian London and instills a dire need for a cup of tea and a cucumber sandwich. Unabashedly frivolous and totally fun.
(Audience member I.O.)
This Alan Ayckbourn revival from the 1970s is excellent. Its smoothness and pace could serve as a perfect example to
modern day writers on what can be achieved.
Veteran actors Anne Connell and Jonathan Norris lead the line brilliantly as Delia and Ernest. They are totally believable and at the same
time warm and funny.
The production by the Tower Theatre Company is perfectly understated, just as Ayckbourn would have envisioned it back in 1975 when it was written.
It is however fast paced with brilliant humour coming thick and fast.
(Review by Graham Archer for West End Wilma. Awarded 5 stars.)
The set fills the large performance space very snugly, and the scene changes are entirely seamless accordingly.
The sound effects
(Colin Guthrie) were excellent throughout, particularly with regard to an off-stage fight scene ... a memorable and enjoyable production.
(Review by Chris Omaweng for London Theatre 1. Awarded 4 stars.)
London' most active amateur theatre company, the Tower Theatre, has been in business for more than 80 years -
but shows no sign of getting tired. Their new production of Doctor Faustus at Theatro Technis is dramatic, intense and gripping ...
... a relatively traditional interpretation of Marlowe's text, featuring two central performances that wouldn't look out of place on a professional stage.
Jonathon Cooper is charmingly eccentric as Faustus, skilfully embodying every side of the character : the frustrated genius, the cocky celebrity and the
terrified dead man walking. It's hard to feel sympathy for a man who's entirely responsible for his own downfall, but Cooper's Faustus is just likeable
enough that we can't help hoping he'll find a loophole as his final minutes tick away.
He's joined by Tower Theatre veteran Robert Reeve as Mephistopheles, the demon charged with sweet-talking Faustus into giving up his soul,
and then being his constant companion for 24 years until it's time to collect on the debt. Dressed all in black, Reeve radiates a quiet authority,
and it's clear from his sly grin whenever Faustus isn't looking who's really in control of the situation.
Once again, The Tower Theatre Company has made it clear that amateur doesn't have to mean unprofessional or poor quality. Every member of the
company volunteers their time and talent for the sheer love of theatre, and that passion shines through in this and every production I';e seen.
(The Blog of Theatre Things)
The Tower Theatre Company tackle his tormented spiritual journey with enough of a modernist tilt to stay true to Marlowe's
vision but not even the great Marlowe was blessed with the pluck to give the deadly sin of Lust a Benny Hill-like characterisation. Actually,
Benny Hill in a leopard-skin mini skirt leering and salivating all over Faustus after the Seven Deadly Sins strut out onto the stage as if it
were a fashion show, led by a white-turbaned, red-lip-sticked, incredibly camp Pride who'd make John Inman pale in comparison.
Are You Being Served? You will be because this magnetic and fixating production directed by Lucy Bloxham offers a clever take on the Faustian tragedy
with lead actor Jonathan Cooper conducting this quest for limitless knowledge with an anguished, spirited and passionate performance which suggests a
sliver of demonic possession even before the angels warn him of Lucifer.
Many of the cast play several parts, switching effortlessly as they do so. Notable, in this respect is a scene where Faustus messes up the Pope.
Faustus attends a papal feast and is invisible to the guests but intent on causing havoc. A good few of the sombre clergymen around the table were
also in earlier scenes donning mini skirts, turbans, Sly and the Family Stone-style felt hats and iPhone head sets when parading as the seven deadly sins.
This, of course, doesn't apply to Robert Reeve as Mephistopheles. His powerful presence and bassy tones are central to Lucifer's demon alone.
The long leather jacket is a nice touch by costume designer Julia Collier.
(Eddie Saint-Jean for What's Hot
London. Awarded 4 stars)