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'Shakespeare as it should be'

There are many amongst us who would claim that Shakespeare should always be performed outdoors. I'm a neutral when it comes to that argument but surely no one can deny that this particular play should always be performed in the open.

Of course it helps when the location is as stunning as the walled garden at Shenley Park. Containing a grass covered amphitheatre, this setting on a slightly gloomy midsummers night was perfect for the Bard's take on folklore, fantasy, love and nature.

The cast, all playing multiple roles, were uniformly good but special mention must go to Holly Berry's passionate but confused Helena and also to Robert Paul for his pompous. self-obsessed Bottom. Many other things will stay in the memory though: Lucyelle Cliffe's lovely singing voice, the inventive songs penned by Alistair Smith and Chris Sharp's hilarious suicide as Thisbe in the play within a play to name just three.

Also S P Howarth's sly, mischievious Puck and Emma Burn's Hermia, especially when enraged, stood out.

Great credit must go to Una Buckley for her direction. Despite some occasionally long costume changes the performance never flagged and it was obvious all the players were word perfect and well drilled. She also managed to incorporate genuinely funny slapstick without ever overdoing it. This is also the only Shakespearean play I've seen that managed to sneak in a blast of 'Let's get it on' by Marvin Gaye.

The cast, without lighting, microphones or effects, and despite blustery winds and two rainstorms,did exactly what everyone should do when they perform Shakespeare. They trusted the words.

To be honest, in an ideal world, Shakespeare probably IS better when performed outdoors. And in an ideal world it would always be performed by British Touring Shakespeare.

Dave Evans, Remotegoat

What can I say? From the Emperor promising a Nuclear Dawn to Tony Blair's Common People, from a heartfelt ode to the demise of romance to the return of Rasputin himself, it rocked. Absolutely brilliant and highly entertaining. Oh yes.

Matt Towner, London

British Touring Shakespeare, this hard-working and innovative young troupe, is currently touring the castles and stately homes of some of the leafy purlieus of England, winning acclaim with this tailored, slightly truncated version of Romeo and Juliet.

Tabley House, a beautiful Palladian structure from the 1760s, provided an open air atmosphere breathtakingly dramatic, as dusk fell and shadows lengthened in perfect harmony with the unfolding of the tragic events. The forecourt before the huge portico made a natural stage, framed by two curved staircases at either end, leading up to what might have been designed for Juliet’s balcony.

Clementine Croft as the tender Juliet delighted the audience almost as much as the eye of Romeo, who was played in no effete manner by Chris Chambers. They looked good together, their chemistry was right and when they kissed for the last time had this ancient house ever witnessed a more poignant stretched second?

This was in every way an economical but reflective and romantic affair for which director Una Buckley and producer Andrew Hobbs - also doubling as the willing Benvolio and the haughty Paris - deserve full credit. They took some liberties, it has to be said, but got away with them. The fights were perfunctory affairs, over before they had started, which is not to take anything away from Gareth Rubin who made a suitably menacing Tybalt.

And, oh yes, Mercutio was a woman, played to perfection as a jesting virago by Alison Playford, the star of the show, who also excelled as the Nurse.

The sky was pitch-black when the monument scene arrived. The great house had been swallowed up, apart from the weirdly floodlit pillars of the portico, which had become a shadowy Greek temple. It did not seem to matter that Paris did not show at all or Robert Paul’s diffident Friar failed to return. We were witnessing tragedy at its best, alfresco and with the pungency of the night.

Andrew Liddle, The Stage

The point of the night was for the collected performers to get together to perform songs from an upcoming rock musical called 'Rasputin Rocks!' and after last night, I sincerely hope this makes it to a stage bigger than the stage at The Wilmington Arms...so so funny!! Tony Blair singing 'Common People' by Pulp, or at least a reworked version of the song, Anton Shelupanov screaming about a 'Nuclear Dawn' and an amazing singer called Lucyelle Cliffe, who played a member of the resistance called Svetlana who sang a song about falling in love with crap men who had venereal diseases! Oh yeah, and Grigori Rasputin making his stage debut too ;)

Kate Turgoose, London

This production of Shakespeare's romantic comedy is bang up to date and so well performed that all of it is instantly understandable and often hilarious, full of visual gags. We are treated, for example, to the long suffering maid Lucetta (delightfully played by Una Buckley) idly leafing through the pages of Hello magazine and pointing out the latest cod piece fashions.

Facsimile Productions have created a pacy, exciting Two Gentlemen of Verona that would be a great introduction to Shakespeare for the jaded young people of today. This is Shakespeare with a swing.

Julia Hickman, Theatreworld

Rarely do we get to see such committed and robust theatre in this neck of the woods. This is Shakespeare as he himself would recognise it - more please!

Sue Ambrose-Simpson, Norwich

Splendid...a rare treat

Torquay Herald Express

A selection of fine performances...a wealth of talent

Herts Advertiser