Tread the Boards Theatre Company - Reviews
Tread the Boards Theatre Company - The Attic Theatre, Lazy Cow, Stratford-upon-Avon, CV37 6YY
Production Present Laughter
Rating *****
Reviewer Phil Williams
Publication Dark Chat Reviews

Tread the Boards present laughter, hijinks and hilarity with a smooth undercoat and glossy finish that once again make many full-priced West End theatre companies seem like DIY cowboys.
A fully decorated stage marked a departure from the typical bare black boards we are used to in the Attic theatre; there were so many rugs on stage you could tell the Easter Bank Holiday carpet sales had started. The backwall was also fully decorated with black and white photographs, Italian theatre masks and the trusty HMV gramophone (if ever Darkchat introduce a ‘prop of the year’ award, this will become the Roger Federer of the theatrical props world). For once we felt transformed to a home setting in the Attic, rather than a stage ready for a production. We were tempted to take off our shoes, place our feet on the head of the audience member sat in front of us, and summon the butler for a stiff port before nap time (if only we had a butler, or any port), and all the better for it. Thankfully, what followed matched the splendour of the stage itself.
The plot, familiar to most, centres around theatrical Garry Essendine and his preparations for an upcoming play tour in Africa. In the hectic days prior to his voyage to the southern continent, Garry manages to squeeze in enough romantic engagements to keep a James Bond fan happy, crush the theatrical dreams of devoted fan Roland Maule, and dismantle the business partnership that has funded Garry’s rise to theatrical success. All of which is done with a dressing gown, an overabundance of witty putdowns, and a vat of a rather disappointing sherry.
Essendine himself is the embodiment of Coward, and the play requires a strong Coward-esque performance to carry it through. With almost half the script devoted to Essendine, the production would either sail unrestricted to Cairo, or be sunk before it had even managed to leave Portsmouth harbour without the right actor in the lead role. In Charlie Davies, TtB have found an assured and able captain, one which sails it effortlessly on its long (and it is indeed a long play) journey with barely a ripple of disturbance along the way. In short, Davies is astounding in the lead role; every stomp, hand wave and eyebrow rise is perfectly tuned to the poisonous dialogue he is armed with. Davies commands the stage whenever he is given the opportunity to shine, spitting every syllable from every putdown at his victims in a manner akin to the great Rowan Atkinson himself.
As ever, the supporting cast is a strong ensemble, with particular credit to John-Robert Partridge as enthusiast and weirdo Roland Maule who provides total hilarity in his brief scenes with his short bursts of energy, heavy handshakes and squeaky laughter. Sonia Saville plays a strong Liz Essendine and emerges as perhaps the only cast member who manages to shun Davies from the spotlight when the two lock horns. James Parsons also makes a fine second act turn as Morris Dixon, the love victim of Garry Essendine who moves swiftly through the emotions late on.

Director Keith Myers has reproduced Coward’s vision with great skill and attention to the detail, and it was warmly appreciated by packed audience. This is Tread the Boards finest production since Frankenstein, and we look forward to much more from this hidden gem of Stratford theatre.



Production An Inspector Calls
Reviewer Sandy Holt
Publication Stratford Herald

Less is definitely more in Tread the Boards theatre company’s latest production, An Inspector Calls by JB Priestley.

 As with all of the productions at The Attic Theatre at The Lazy Cow, Bridgefoot, Stratford, there is always the challenge of the space. Yet this company has not only mastered the art of bringing versatility to its approach in staging, but also addresses how to engage with the audience without gimmicks.

Director Andy Woolley has stripped his production to the bare minimum, giving the actors the opportunity to really discover their characters and shine.
Set against a backdrop of just a golden sofa and chair, alongside a drinks trolley, this design allows the audience to focus on what is really important – the wonderfully constructed script.

It is common knowledge that this thriller questions morality and leaves its characters having to take responsibility for their actions. And, despite the original, first performed in 1945, being set in 1912, the message behind this classic three-act drama is still relevant today. You can’t help going away considering the impact one’s actions have on others both then and now. Your conscience is pricked.

The director has carefully constructed his production to give the impression each member of this middle-class family is brought to the dock to give evidence on their involvement in a young girl’s suicide.

Andrew Bayliss offers a wonderfully sanctimonious head of the house as Mr Birling, with Juliet Grundy a haughty side-kick as his wife, Sybil.

John-Robert Partridge is a determined Inspector Goole, passionately bringing the moral message of social responsibility to the stage and Catherine Prout a worldly-wise yet impulsive daughter, Sheila.

James Tanton (Gerald Croft) Richard Lee O’Donnell (Eric Birling) and Clare Sykes/Marion Braddish (sharing the role of Edna) complete the strong cast.



Production Blithe Spirit
Reviewer Sandy Holt
Publication Stratford Herald
 
Staging one of Noel Coward's comedies is always a safe bet - the script in itself always makes for a good show whatever the standard of acting. But when the audience is offered fine acting as well, a theatre company is sure of a box office hit.
 
Stratford's Tread the Boards Theatre Company, the resident company of the Attic Theatre at The Lazy Cow (formely Cox's Yard), achieved just this as it proved, even on a freezing snow ridden evening as was last weekend, it could still fill the auditorium with its warming production of Blithe Spirit.
 
Director John-Robert Partridge had selected his cast well, but as with every Coward staging the play was not without its challenges, namely the sheer pace of the words as well as comic timing.
 
Luckily the cast took this in its stride to create a fast-firing comical delight - there were only a few moments in the second half when the actors seemed to lose their pace.
 
The play, which takes its title from Shelley's poem To a Skylark, revolves around the life of socialite and novelist Charles Condomine, who invites an eccentric clairvoyant, Madame Arcati, to his house to conduct a seance, hoping to gather material for his next book. The consequences of which prove fatal for his current wife after his deceased wife is conjured up.
 
Dan Gough provided a steady Charles Condomine and Emma Sian Cooper a confident and elegantly cold-hearted Ruth, his current wife. Cooper came into her own as she raged ratty exchanges with Meg Lloyd as the ghostly Elvira (deceased wife). Lloyd gave a delightfully mischievous performance as the ghost and Jennifer Hodges as the wonderfully batty Madame Arcati exuded energy throughout.
 
John-Robert Partridge and Sarah Campbell worked well together as Dr George Bradman and his wife Violet, but for me, topping off the show perfectly was the bustling performance given by Elaine Turrell who offered a real comic delight as Edith the maid.
 
A suitably simple yet refined set (designed by Andy Woolley) completed what was a wonderful nip of comic hard stuff, which melted any grumbles of freezing weather.


 
Production A Midsummer Night's Dream
Reviewer Sandy Holt
Publication Stratford Herald
 
This week Tread the Boards Theatre Company proved that it could do ‘merry and tragical’ yet not ‘tedious’ and relatively ‘brief’ when it tackled its first full-length Shakespeare. The company is performing A Midsummer Nights Dream at the Attic Theatre in Cox’s Yard, Stratford. The play has had more than its own fair share of outings in the town recently, yet director John-Robert Partridge has managed to bring a fresh approach – using a couple of tricks seen on the RSC stage over the years as well as his own inventions – to this well known play. Mr Partridge said he wanted to choose a play that could embrace the company’s unique style of ‘bringing the darkness of the production to light’ and this Dream certainly fitted the bill. The director had done his research which paid off. He offered a dark view of how he tackled Puck and the fairies, a sense of a ‘Prospero’ kind of character in Oberon and Goth fairies – all set against a black backdrop with just a few sprigs of foliage and flowers representing the forest. There were obvious stars among newcomers to the group. Jessica Manning’s command of characterisation was a dream in itself – she swiftly moved from a comic ‘northern’ Elyssa (Egeus) to the wickedly seductive Peaseblossom and a charming mechanical. And Daniel Gates’ staring Puck was unnervingly sinister – in line with perceptions of spirits of the day. ChloeJane Thorpe offered a suitable fiery Hermia and Catherine Prout (Hippolyta/Titania) once again proved her regal mettle, playing against the soppy Lysander (Benjamin Archer). Marc Taylor also gave a sterling  performance as the ambitious,over enthusiastic Bottom.
 

Production The Complete Works of William Shakespeare (Abridged)
Reviewer Sandy Holt
Publication Stratford Herald 

To tackle all of Shakespeare’s plays and sonnets in just under 2 1/2 hours is no mean feat, but to get upstaged by an eight-yearold in the audience could understandably tip any actor over the edge.Not so for the three menfrom Tread the Boards Theatre Company who were performing The Complete Works of William Shakespeare—Abridged! at theAttic Theatre in Cox’s Yard,Stratford on Sunday. They took young Molly, whose infectious laughter.and comments had the rest of the audience in stitches, in their stride—even during the famous ‘To be or not to be’ speech from Hamlet—and made her constant wonderful expressions and exclamations part of the show. The trio, John-Robert Partridge as Daniel Singer, Daniel Gough (Jess Borgeson) and Andrew Maguire (Adam Long) had made the West End smash hit their own. It was originally made famous by The Reduced Shakespeare Company, but the Tread the Boards actors, under the direction of Ash Bayliss, have created a performance which no doubt could be made famous in its own right because of their unique personalities and the added contemporary asides. Mr Bayliss’s set, a simple cloth backdrop with backstage space, worked well in what historically has proved a difficult space to perform in. The action including all of the audience and even a flipchart didn’t obscure sight-lines. But the real praise should go to the performers whose unrivalled energy captivatedShakespeare lovers and haters alike as they rollercoastered through a two-man version of Romeo and Juliet, Titus Andronicus as a cooking show, Othello as a rap, the Histories as a rugby match and Hamlet, which was finally performed backwards. Their fast costume changes were slick as they switched from character to character and a special mention should go to Mr Maguire who managed to play all of Shakespeare’s women. They promised the audience that they would ‘laugh until they can laugh no more’ and judging from the reactions of Molly and many of the audience that night, they didn’t disappoint. This theatre company seems to be going from strength to strength—at last year’s Edinburgh Fringe Festival it took the Dark Chat Reviews award for ‘best play’ for the The Importance of Being Earnest which had premiered at the Attic Theatre. And judging from their performance on Sunday, the company is destined for even greater things.



Production Macbeth Live!
Publication Stratford Herald

An innovative and entertaining production… The Macbeths – in all their grisly twisted descent into murderous madness – were intensely played by John-Robert Partridge and Catherine Prout. A great Addition to this year’s Fringe.
 

Production The Importance of Being Earnest
Publication Broadway Baby
 
This is a very traditional production, but none the worse for that. An almost capacity audience enjoyed themselves a great deal. Algernon and 'Jack' (Matthew Huntbach and John-Robert Partridge) gave two very good performances, and they made great use of the space – this was close to theatre-in-the-round. They energetically chased each other in pursuit of the elusive cigarette case. Miss Prism (Elaine Turrell) was a delight. You did feel that she might like to climb up Dr Chasuble – even perhaps to eat him! Jay McCabe as Dr Chasuble was suitably formal in a rather nervy way, though his mannerisms could perhaps have been a little restrained. I liked having the servant, Laine (Ciaran Brown) nicking some sherry right at the start. His manner was unchangingly lugubrious - very fitting. Lady Bracknell (Christine Hart) was firm and commanding, but her particularity could have been further developed. So much attention is given to her at several points, and a very strong even overpowering character is called for. Cecily Cardew (Catherine Prout) and Gwendoline Fairfax (Donna Cooper) – the one girlish and calculatedly spontaneous, the other firm and purposeful - were very good in their plotting scene together. The diction was of a very high standard throughout. The company seemed to relish what they were doing, which adds to the enjoyment. If there are any tickets left for the remainder of the run, I would recommend getting hold of one.
 

Production Loyalty Binds Me
Reviewer Marko Spriggs
Publication Guide 2 Stratford

Loyalty Binds Me – The True Story Of Richard III : Tread The Boards Theatre Company, Stratford upon Avon  Tread The Boards Theatre Company brought their ‘true story of Richard III’ to the stage at the Attic Theatre last week. This well researched, powerful and well delivered production was a notable success for the theatre company. The big question director John-Robert Partridge wants us to consider, on the stage, relates to the infamous murder of the two princes in the tower of London. There is a view that a power hungry Richard had them ‘removed’ in his bid to ascend to the throne – did he do it? Shakespeare has done little for the case of Richard’s defence. Writer Neil Hewitt-Dudding set out to present a more balanced telling of the story of the houses of York and Lancaster. The murder of Richard’s two nephews lying very much at the heart of a story, which began life as a screen play and which he has been working on for sixteen years. Indeed the long history brought to life by a hard working cast started and ended its journey in the tower of London. During the two and a half hour performance there were some powerful and emotive scenes and some highly inventive use of the small theatre space and minimilastic set. The stylised choreography of many of the fight scenes which combined skilful stage craft with a modern filmic penchant for combining slow motion and real time sequences were particularly effective. As a play for theatre audiences with ever decreasing attention spans I think that the text could have benefitted from some further pruning, which is by no means a reflection on the quality of the writing. There was some stunning acting on display from the dedicated cast which comprised; Richard Bunn, Emma Sian Cooper, John Robert Partridge, Adrian Daniel, Daniel Gough, Catherine Prout, Catherine Pugh, Taresh Solanki, Marc Alden Taylor, James Tanton, Mark Tracey, Elaine Turrell and Andrew Woolley. Tread The Boards are certainly a company to watch out for and I commend them for their work and willingness to take risks.
 

Production Three Tall Women
Rating ****
Reviewer Tony Challis
Publication ScotsGay

This is an intense and demanding three-hander which is performed to a very high standard by an accomplished cast. At first, we have centrally a 67-year-old widow with Alzheimers (Joanne Gough, giving a commanding performance in a role once occupied by Vanessa Redgrave ), being looked after by a very knowing and subtly powerful nurse, ( Rebecca Varey,) and observed by the youthful and gauche lawyer’s assistant,( Catherine Prout). The widow is demanding and suspicious, though inclined to forget what she is being demanding and suspicious about. This difficult character is skilfully managed by the nurse.Part way through things change abruptly, and the three become parts of the widow; young. Older and old, as she examines her life as it closes. She wonders what might be the happiest time – various experiences, or the end and the chance at last to stop. She does not seem to be one who has given great pleasure. There is a silent part for the gay son, who has walked out years ago and who receives verbal abuse from the widow. This is surely a representation of the author, the esteemed American dramatist Edward Albee, most famous for Who’s Afraid of Virginia Woolf?My attention was firmly held throughout in this character driven play in which little happens, as each actor fully inhabited their character, even as these metamorphosed mid-play. This is a production of which Tread the Boards Theatre Company from Stratford on Avon can be proud. The show has a short run and I would recommend it if you want a meaty drama with food for thought and red-blooded acting.
Production Othello
Rating
ReviewerMisaki Morita
Publication Stratford Herald


Japan’s Misaki Morita visited England for the Shakespeare Birthday Celebrations and while here saw Tread the Boards Theatre Company’s Othello, which ran until Sunday and returns to the Attic Theatre for the Stratford Arts Festival…

I saw Othello, Shakespeare’s great tragedy about love and jealously performed by Tread the Boards Theatre Company at the Attic Theatre on my last evening in Stratford. There are two things which I admired about the production’s theatrical scenery and lighting. The first is the use of the net as part of the set. It presented an image of the sea surrounding Venice, but for me it seemed like a metaphor for the trap set by Iago for Othello and others.

Secondly, the green light used for stage lighting. Needless to say, it was used to express Othello’s jealousy. Though this kind of lighting was within expectations for me, the effect of it was just beyond. I was shocked by the strong emotion of Othello, played by Nick Doughlin, which was enhanced by the illumination. A scene lighted by the green illumination cannot be seen in real life, yet the scene had a kind of realness. Methinks it is because we had experienced such kind of feeling at least once in our own lives and the scene reminded us of it.

I also loved the way Iago, played by John-Robert Partridge, gave the audience a glance almost every time when he left the stage. It gave me a sense of comradeship by sharing the secret with him. By that and the strong soliloquies of Shakespeare’s own hands, I was enticed into his world without noticing. Now I think I understood why British people love Iago and other Shakespeare villains.

Lastly, Othello’s smile towards Desdemona (Rebecca Bell) in Act 1 Scene 3 (when he first saw Desdemona on stage) was really impressive for me. Her father, furious with rage was in his presence, nevertheless his smile described that he really loved her and was so happy with her. It seemed for me that at that moment, he was no more a cruel soldier or a great general, but a man in love.  I found it a really interesting interpretation and it is related to the  saddest lines in Act 5 Scene 2, “Then must you speak of one that lov’d not wisely but too well.”

Othello, directed by Jess Hill, returns to the Attic Theatre at The Lazy Cow, Bridgefoot, Stratford, on 24th and 25th May. For details and tickets contact www.stratforduponavonartsfestival.co.uk





Production Frankenstein
Rating *****
Reviewer David Cox
Publication remotegoat.co.uk
 
If you ask about theatre in Stratford Upon Avon most people will mention the Royal Shakespeare Company. Right, but also wrong. If you want a large scale production of a Shakespeare play you should head to the recently refurbished Shakespeare theatre but, if, you prefer your entertainment more intimate, yet of a similarly high quality you should check out the "Tread The Boards" company, based in the Attic Theatre. They have been producing impressive versions of classic stories for many years, the latest being Mary Shelley's 'Frankenstein'.

Perfectly timed to coincide with Halloween you enter a small space and see a figure draped in a sheet on a slab. Immediately director John-Robert Partridge leads you to assume this is the monster then surprises you by unveiling Victor Frankenstein recovering on a ship having been rescued from the icy wastes of the Pole. We are now in flashback mode as he reveals the tale of how he appears in this wretched condition.

This adaptation is more truthful to the novel than most recent productions yet it seems obvious that you would want to use such great material. It is truly one of the great stories showing the possible consequences of science meddling with nature. Two hundred years later and nothing has changed.

A good plot is a start and a director's vision can only take you so far as the success of a play ultimately revolves around the actors. Here, the "Tread The Boards" company are very fortunate indeed. All the cast are exemplary ( amongst the supporting roles Jennifer Hodges breaks your heart as the doomed Justine) but Mr Partridge is blessed with two outstanding performances in the lead roles.

Rich Bunn makes you understand the tricky title character, from inquisitive student, lover,obsessed scientist to horrified widower seeking refenge. Most horror films concentrate upon the monster as a pure figure of fear but he is actually one of literature's great tragic figures which Adrian Daniel Varney portrays beautifully.

The pacing of the piece is captured perfectly with the tale unfolding before us without any dull moments and just as impressively the director avoids any aspects of melodrama with all events seeming natural and realistic.

Last year I saw the Danny Boyle version at the National Theatre and I can honestly say I preferred this more intimate version. Obviously, they do not possess the resources of the subsidised London theatre but tonight proved that imagination is just as important as finances. The simple premise of plunging the venue into pitch darkness and allowing the actors to roam amongst the audience was truly terrifying.

Cox's Yard is in the process of being taken over and the future of The Attic theatre is uncertain. This is therefore the prefect time to discover Stratford's hidden gem and support this impressive company ( starting with Dick Whittington next month).You won't be disappointed!


Production The Strange Case of Dr Jekyll and Mr Hyde
Publication MrsCritic.com
 
“The drawing room of Doctor Henry Jekyll. A well-appointed room, with three chairs, a door…and…a door.”Wednesday 27th October saw the opening of the UK premiere of The Strange Case of Dr Jekyll and Mr Hyde, presented by Tread the Boards Theatre Company. Set to run over Halloween and bonfire night, this performance promises to be an eerie one, and it certainly doesn’t disappoint. The show is full of scares and surprises, all of which are best experienced first-hand. Much of the fun is down to not knowing what is going to happen, and so this review isn’t going to be the spoiler kind.The script, by Noah Smith, is an adaptation of Robert Louis Stevenson’s original novella about the dichotomy of good and evil in the human soul. Smith’s version of the tale is a view into the lives of both Jekyll and Hyde, which brings a modern touch to the Victorian horror story. Director, John-Robert Partridge, does an excellent job of interpreting this script with a Halloween twist, and the cast work well together to do justice to his ideas. As a group, they take on their roles with incredible passion and the audience witnesses some fabulous relationships developing as the action plays out.The role(s) of Jekyll and Hyde are played by scare actor, Dan Gough, who provides an energetic and entertaining performance. The two opposing characters are often seen as caricatures, but Gough is successful in bringing soul to both the men. As Henry Jekyll, Gough is meek and apologetic, bringing sadness to the role. In stark comparison, his portrayal of Edward Hyde often shocks the audience with explosive violence and intense passion. The most notable characters, however, have to be the Maid and the Butler, played by Jennifer Hodges and Andrew Maguire. Their connection and chemistry as a duo was fantastic, and they managed to be utterly chilling yet totally captivating in both their dialogue and movements. Together they did much to enhance the creepiness of the whole evening.Right from the beginning of the performance, the audience are put on edge by ghoulish lighting and eerie music, and each act opens with an incredible sense of fear and foreboding. Props and scenery are minimalist and multi-purpose, which suits the venue and script, and allows for less set re-modelling between scenes. As it is, the set changes are just as entertaining and creepy as the story itself; enchanting, but in an almost hideous way. As a venue for this kind of performance, the Attic Theatre in Stratford-upon-Avon seemed both apt and atmospheric. The auditorium only seats around a hundred people, so the audience are never far from the action. This also works really well for this performance, and the feeling of closeness to the players definitely enhances the sense of horror.  The Old Joint Stock is a similar venue, and so Partridge predicts that the performances held there will be just as successful as those in Stratford.In summary? Thrilling, chilling, enchanting and captivating. Perfect for this time of year. Get your tickets now…


Production The Strange Case of Dr Jekyll and Mr Hyde
Publication remotegoat.co.uk
 
Robert Louis-Stevenson's famous Victorian classic is an excellent choice for stage, being a novella that consists of just a hundred pages or so of medium print means there is room to be creative for stage work without having to take liberties with the original content. Therefore, taking Noah Smith's play script and adding Tread the Board's specific take on it; means all is achieved in the delivery of something spookily special.

Dr Henry Jekyll (Dan Gough) a reputable scientist becomes obsessed with the duality of personality; the light and shade of one's nature. He injects, in to his veins, a serum which allows his sinister side to surface. Jekyll becomes Hyde (Dan Gough). They are one of the same. At first Jekyll chooses when to make the switch. As Hyde he is liberated, free of inhibition, and, for once, strong in body and selfish in mind. Jekyll is understandably protective of the monster side of his own self. He manages to present to the world Edward Hyde as a separate entity. Yet Jekyll becomes consumed by his alter-ego, eventually he switches to this evil side without his free will. The result is tragedy for him and for his friends and acquaintances.

Gough suitably attracts and repels the audience to whichever characters he is portraying. We can admire the intelligence and be empathic to the frustrated Jekyll, we are on our guard (especially when sitting in the front row), to the grunting and snarling of the nasty spirited Mr Hyde. 

The maid and butler, Jennifer Hodges and Andy Maguire respectively, are on-stage throughout. The two have white painted faces and dark eyes to match their attire, they taunt, and tease, and provide the kind of eerie abandonment synonymous to other characters of scary plays. They provide a commentary to the conflict of thoughts of Dr Jekyll, they change elements of the simple set between the fast moving scenes, and introduce each scene with repetitive phrases. The audience eventually acknowledges their crucial roles, not just as players, but as clever, dramatic devices.

Under the clear vision, yet non-fussy style of directorship of John-Robert Partridge this is riveting entertainment. It was, however, rather naughty of Gough to yell aggressively in the face of my fifteen year old son, brandishing his cane. I considered, momentarily, whacking Mr Hyde with my handbag but thought it would not be right, so my party of three moved to the safety of back row after the interval, with a packet of Jelly Babies - to carry out our own carnage! 

An entertaining show, racy, fun, twinned with the serious endeavour, necessary for such a piece, totally met - congratulations to all involved.


Production Shakespeare Shorts
Reviewer Gurdey Singh
Publication Guide 2 Stratford

There is always an element of risk when a theatre company stages a production based largely on the direction and influence of the gathered audience. Tread the Boards Theatre Company have been offering just such a proposition as part of the Stratford-upon-Avon Fringe. In the spotlight delivering ‘Shakespeare Shorts’ is local actor John-Robert Partridge. Shakespeare Shorts offers ample opportunity for the assembled audience to be heavily involved in the session; either in recounting facts about Shakespeare, acting in a historic Shakespeare battle scene or in requesting - from the lead- sonnets and plays to be recalled. This engagement seems to flow naturally and is not coerced. John displayed an enviable knack for tailoring the performance to cater for even the youngest audience members – on this occasion aged 5 – which seemed to come to him as second nature.  Towards the tail end of the programme, having reeled off a few Sonnets, John offered to close the session with a scene from any Shakespeare play ‘called out’ by audience. A firmly made request from an evidently well versed Shakespeare aficionado for Macbeth (Act 2 Scene 1) was warmly welcomed by our host. Allowing for a moments composure John starts “ Is this a dagger which I see before me ..…[closing] words to the heat of deeds too cold breath gives”. Then silence. Delivered with great composure, confidence and a thorough grounding in Shakespeare’s works the whole performance was met with heart felt applause. If you get a chance to see, or more accurately be part of, this Tread the Boards Theatre Company production – do take up the opportunity.
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