“Rupert Goold doesn't maintain his directorial grip on the script. It begs an interesting question: given that the text is so quick to capitulate between feminist-tinged black humour and serious meditation on gender politics one cannot help but wonder whether a female director would have been better suited to execute it.”
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“Carnal, comedic and quirky, from there things spiral from bold to bloody as the Civil War commences and the death count rises...Characterisation remains patchy and some scenes feel too short whereas others overstay their welcome.”
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"The play needs greater cunning and more significant horror, too. It’s all well and good for a show to chance the word “boo” but not if one’s response to the scare tactics is a mere shrug."
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“...it’s never less than entertaining, a wickedly funny study of women and wickedness and wickedness in women. Infernally good stuff.”
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"The devil is in the detail and that’s lacking, the second half a melee of plotting and talking. It’s hard, finally, to care as the power struggle intensifies. A case of buyer, beware."
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“The shape-shifting audacity of the play makes it exciting to watch, if ultimately confounding...This is a wild ride with the Devil. And if anyone can conjure up a theory that explains it all, I’d love to hear it.”
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“The plotting is so erratic that I began to wonder if I had fallen asleep during key scenes... I apologise for such a vague summary, but there were long stretches when I honestly had little idea of what was going on.”
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"If it is a failure, it is a heroic one, performing the rare feat of leaving this critic impressed, exasperated but temporarily speechless."
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