Antic Disposition: Press

THE TEMPEST

Fringe Review:

"The strength of Antic Disposition's ensemble of actors is built on the strength of their clear understanding and use of Shakespeare's script, imbued with staged direction embedded in its poetic language.

“Ami Sayers (Miranda) is stunningly good in the role: every word and movement is expressed with understanding and she finds new meanings in many difficult passages.

"Christopher Rowland’s Ariel is inspiring to watch. His singing channels James Burrows’ superb atmospheric music.

"I recommend that Antic Disposition's The Tempest deserves to be viewed widely, nationally and internationally, achieving its own well-deserved milestones. I warrant that it will be one of the best productions of the play audiences will see for a long time."

The Bardathon:

"Designer John Risebero and lighting designer Howard Hudson did wonders with the space. The whole was directed with a painterly eye for composition, most powerfully as the "men of sin" raised the lid of a casket and were illuminated by golden light from within, standing for the wonder of the banquet."

MUCH ADO ABOUT NOTHING

Ham & High:

Camden New Journal:

“France, 1945. The war is over, Paris liberated, the Führer toppled and the victorious returning troops of Don Pedro are looking to conquer a new and very different (if just as formidable) opposition – women.

“Whether in love or out, French or Anglais, this production of Much Ado has a bit of everything.”

Time Out:

“Antic Disposition’s new production certainly isn’t short on charm. Set in St Stephen’s, the beautifully refurbished Victorian church, it’s an inspired choice for the summer.

“Audience members sit along the central aisle on bistro-like tables, watching and eavesdropping as the action swirls around us, showcasing every high arch and gothic nook and cranny of what must be one of London’s most elegant performance spaces.”

Extra! Extra!:

"It's the end of the Second World War and summer is upon us. The colossal interior of the newly restored St. Stephen's is a country estate in South West France to be descended upon imminently by victorious soldiers. Evening sunlight streams through the stain glass windows. This is not period Bard on a proscenium stage, but a site specific performance drawing upon the parallels of another time.

"The most riotous moments come from the farcical eavesdropping scenes, most notably where Benedick attempts to conceal himself in vain from the match-making plotters."

The Stage

"As the gloaming penetrates the stained glass windows, the mood chimes perfectly with the languid air of one of Shakespeare's sunniest comedies, as maidens arrange flowers and men reflect and drink wine."

British Theatre Guide:

"Anouke Brook is a fine Beatrice, displaying an innate ease with Elizabethan English, and capturing the pathos of a woman who, despite her brave face, fears love may have passed her by. Ashley Cook (Benedick) is a perfect foil and has genuine charm.

"The famous arbor scene, where the lovers 'accidently on purpose' hear the secrets of their own hearts, is made fresh by the ingenious use of a trestle table, a vase, and some tall sunflowers.

"The cast is impressive ... Their singing and dancing, led by the mellifluous Sophie Cosson (Margaret) is joyous.

"Jonathan Pembroke and James Pellow manage to elicit laughs from the audience as the (often tedious) Dogberry and Verges: no mean feat.

"Damien Warren-Smith gives a new reading to Don John, conveying a man of mystery and bitterness, perhaps hardened by the war experience.

"But the real star of the show has to be the setting. How delicious it is to discover that the derelict St Stephen's, Hampstead, has been restored to its former gothic grandeur, with cool stone columns and alcoves providing natural entrances and exits, in a similar vein to the Open Air Theatre at Regent's Park. Bathed in early summer evening sunshine we, too, are able to see things in a different light."

THE LION, THE WITCH AND THE WARDROBE

Time Out:

"Adrian Mitchell's adaptation, originally written for the RSC, really is a thing of beauty. He captures precisely what it is about the book that makes it so loveable.

"This production … is utterly charming and completely effective."

The Stage:

"The first show since the renovation of St Stephen's has been completed, The Lion, the Witch and the Wardrobe showcases the grand and atmospheric venue to perfection. The production itself is incredibly slick.

"Jayne Dickinson as Lucy is especially impressive … She portrays Lucy's effervescent character and warm-heartedness enthusiastically.

"Ross Hugill's Mr Tumnus looks and sounds exactly as one would imagine. His endearingly hesitant interaction with Lucy … is a joy to witness.

"At the centre of the innovative costumes and scenery is the enormous wardrobe - almost a character in itself, which is the highlight of a stunning set. Using the rest of the church as an extension of the stage in the second half is an inspired move and one that will no doubt be utilised again in this magnificent setting."

Mark Shenton, Shenton's View:

"I saw the wonderful possibilities for restoring a magnificent church to the heart of its community on Friday, when I went to the opening night of a new production of The Lion, The Witch and the Wardrobe at St Stephen's Church on Rosslyn Hill in Hampstead.

"The sweetly touching and sincere staging of The Lion, the Witch and the Wardrobe with which Antic Disposition have launched their season is a good omen for things to come."

London Theatre Blog:

"Charismatic lion-king Obioma Ugoala benefits from a marvellous long entrance, as the back-wall of the stage opens to reveal the apse beyond, bathed in golden light.

"One small person near me responded to the revelation of Aslan's return with a loud gasp of awe, as the primitive magic of a communal desire to believe started to catch hold of the audience.

"The Lion, the Witch and the Warbrobe bodes well for a productive conjunction of company and venue. As spring banishes winter, and virtue emerges triumphant, a warmly hymnal finale seemed a fitting conclusion to an evening of promising new beginnings."

Camden New Journal:

"Thanks to the impressive space provided by the newly renovated St Stephen's, Hampstead, this production is spellbinding from the outset.

"This original production has some truly magnificent points of interest. A faultless set, meticulous costume and polished performances from an experienced cast did full justice to CS Lewis's wartime children's fantasy.

"Alice Fernbank gives a wonderfully mean performance as the White Witch.

"The Victorian Gothic architecture will be at its best when the Bard visits in June, and Antic Disposition's residency deserves to attract many more worshipers back to this church."

ROMEO AND JULIET

The Stage:

"Ami Sayers' Juliet is a thoroughly believable and endearing portrait of a young teenager … with the rare ability to make every line sound as if it is being thought of and spoken for the first time."

"This fast-moving production … is always clear and, at its best, as real and moving as if it had never been seen or read before."

British Theatre Guide:

"Susan Penhaligon is perfectly cast as the utterly adorable and doting Nurse. Penhaligon seems to embody the essence of this character and brings fresh humour to the role."

"Philip Correia is riveting as the powerful Mercutio and lends a sense of maverick to the character, delivering his scenes with flourish."

"A slick production, strong acting and great casting."

Fringe Report:

"Andrew Hayden-Smith's handsome Romeo has … an easy fluency with Romeo's many lines. It's an energetic performance."

"Directors Ben Horslen and John Risebero produce fine staging, tight action and a really driving pace that makes it motor along."

"Designer John Risebero deserves a medal of minimalism for his lovely set. His opening and closing scenes … are bookending masterpieces of chilling, spine-pricking emotion."

"The music by James Burrows is so good that there's almost a waiting for the next bit of it. Each piece creates a new mood with remarkable effect."

Blanche Marvin's Theatreviews:

"This is a young company who are extremely brave and talented."

"The fight sequences are extremely well staged, with Philip Correia brilliantly playing Mercutio and expressing the lyricism of the Queen Mab speech more skilfully than the verse-speaking in most companies. Here is a star in the making."

"It is good to see the directors so careful in the music, the ensemble work of characterisations, the pacing, the excellent verse speaking which holds the beauty of some of Shakespeare’s most enchanting poetry. One looks forward to their yearly return at Jermyn Street."

THE IMPORTANCE OF BEING EARNEST

Camden New Journal:

"Strong performances all round and wonderful comic timing. A highly exuberant interpretation of this classic play"

Sidmouth Herald:

“John Risebero and Ben Horslen gain maximum humour from this sparkling production. Delightful entertainment.”

Time Out:

"John Risebero's stage design is one of the best I've seen on the fringe"

Indie London:

"A delightful and worthwhile interpretation"

The Stage:

"Thoroughly enjoyable"

Living It:

“Lively and entertaining, bringing Wilde’s sharp wit to life. The onstage chemistry is as obvious as often as it is laugh-out-loud funny”

RICHARD III

Ham & High:

"The early Victorian architects had a great appetite for the Gothic and St Stephen's, built in 1869, is no exception. Its impressive interior provides a perfect atmosphere for Shakespeare's wonderful melodrama, written to exalt Queen Elizabeth's grandfather Henry VII and to debunk and destroy the reputation of the "evil" Richard from whom he had purloined the English throne.

Director Ben Horslen and designer John Risebero have performed a miracle of setting for this production. The audience is seated in double rows on either side of the central tiled aisle, which is where the action takes place.

Tony Austin is hardly conventional casting physically, being burly and decidedly non spider-like in appearance, but he makes a villainous, crippled Richard who holds our attention and respect while extracting every ounce of comedy from his wicked manipulations.

He is surrounded by an exceptionally effective company. The vengeful Queen Margaret is powerfully portrayed by Gaynor Bassey. Charlie Palmer is a charming Buckingham who can go along with Richard until the final unspeakable deed, and James Alex Hutchinson rends our hearts as the unfortunate Clarence, doubling this performance with Tyrrel, the murderer of the two little princes.

This is a well edited and inventive production with atmospheric music, effective lighting, exemplary acting and direction. Bless them all for bringing back to life this magnificent old building."

Aline Waites