Churchill has long been heralded for her challenging games around a theatrical form, and these plays are no exception...These are variously bracing playlets of intellectual teases and puzzles...'
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In her captivating quartet of new works – the thrillingly theatrical equivalent of three short stories and a novella...[Churchill] casts an immediate spell over her audience...'
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Caryl Churchill's compelling quartet...The latest from the daring playwright is a fascinating four-part exploration into our appetite for blood-soaked myth.'
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Caryl Churchill pushes boundaries. Your wits need to hurry to keep up with the audacious, haunting and often horribly funny games the veteran dramatist is playing in Glass. Kill. Bluebeard. Imp.'
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[Churchill's] latest, ‘Glass. Kill. Bluebeard. Imp.’ is a virtuoso quartet of plays that will probably take years to digest fully, in which her almost supernatural powers of language remain entirely undimmed.'
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It has its funny-peculiar moments, the acting hooks you in, but it’s overlong. Overall, then, this passes the time well enough. Does it define the times, in an essential way? Not so much.'
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All [of Churchill's] work is precision-engineered but her late plays feel like Picasso's late sketches. The line is so fine, the image ferociously truthful, pared to the bone yet rich in implication.'
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Quite simply, no one does it better. From the pre-eminent theatre artist Caryl Churchill comes a quartet of reflections on the human condition, crystalline in their grace and lucidity, audacious in their form.'
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