“...it all feels like an act, suddenly more sketch show than play. Most disappointing of all, the dynamic between mother and daughter in both halves feels stuck on auto-pilot. There is lots of squabbling, an occasional flash of affection, but little insight.”
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"Infamous gives a history lesson that’s as entertaining as it is enlightening and a reminder that history isn’t just what happened; it’s also who made it happen. It’s surprising, funny, and heartbreaking, like all the best stories should be. "
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“Oakley’s production deals in pleasingly simplistic juxtapositions...Ultimately this is a short, tight, mildly diverting show. It’s kind of fun to see Quentin mere et fille spar with one another, and to be reminded of what Emma Hamilton achieved and overcame. But like her, I wanted much, much more.”
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"De Angelis’ conclusion makes for a tidy, if vaguely insubstantial, ending in an otherwise emotionally adroit and often very funny play. Oakley’s thoughtful, intimate production is perfectly pitched, and the mother-and-daughter casting is a genuine coup, bringing an extra layer of authenticity to the relationships. "
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“It’s an enjoyable and elegant chamber piece... well served by Fontini Dimou’s minimalist set and by a mother-and-daughter act which has a warmth and synergy that reveals just how much they like being on stage together.”
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“It’s an extraordinary tale but one feels that it might better be explored through a musical rather than a talk-heavy play – though, perhaps, one Hamilton show is enough...the parallels with today’s celebrity culture, suffused as it is with the seductive lure of fame that so fired Emma’s ambition, is largely unexplored – there’s a lot to say there in a perhaps bigger play that remains tantalisingly out of reach.”
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“Lively as Mrs Cadogan, Caroline [Quentin] finds a tragicomic scope to the vain but vilified Emma. So you waive some worries about the storytelling for a chance to see acting this good up close.”
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