"This is a giddy and enthralling production of a unique story that feels like a breath of fresh air."
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“It’s clear what the plays intentions are, but it never comes close to realising them. Too much of Woolf’s clever and innovative style is missing from Bartlett’s script and the cast are unable hide that fact. What was a ground-breaking novel in the early 20th century, is today a stage play that can’t make the same impact.”
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"True to Woolf’s spirit, the show’s strongest charm really is its inventiveness and creativity, and its final scene, though a little polemical, is a triumph, finding a conduit to genuine emotion."
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"There is enough flair and wit in this slick production to convey some sense of Woolf’s wildly original vision...when the frenzied flow of time is finally arrested at its close, this 'Orlando' leaves one wanting much more."
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"There are lots of good things about this ‘Orlando’...It’s fun, but it’s not doing full justice to either Virginia Woolf’s book or Emma Corrin’s performance – an extra half an hour could have made a real difference."
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"What anchors attention is the coruscating Corrin. Whether it’s a darting, impish look, a nymph-like movement, a roguish smile that’s dazzling as a lighthouse...you’re ever in the presence of pure star quality."
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"This is a fantastic performance, full of gentle detail – shoulders wriggling in distaste, eyes wide in discovery – and Corrin provides the compelling heart of a problematic play."
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"It feels like commercial and art-house theatre are productively entwined here, bringing a questing intelligence and star power to hot-button issues."
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