“Orton was often described as the enfant terrible of London in the late 1960s, a time when attitudes were becoming more relaxed and the world was becoming more permissive. Orton was at the forefront of this revolution and the most interesting thing to note about this play now, is that in some ways, attitudes have gone backwards. Something written 55 years ago now seems both grotesquely distasteful, and yet also frighteningly relevant. London Classic Theatre has been exceptionally brave to revive this play. Orton was always a provocateur and it is testament to his skills as a writer that it still manages to provoke over half a century later. His script is intelligent, wordy, and very funny. Jam-packed with one-liners and satirical barbs, it is certainly not for the faint-hearted. It is brought to life brilliantly in this production and is perhaps even more relevant now than it was in 1969.”

Mark Clegg – The Reviews Hub ★★★★

“The show is an intense and absorbing experience. Acting of the highest quality from Paul Carroll as Frank, Gina Costigan as Grace, and Jonathan Ashley as Teddy, means all three characters are wonderfully and charismatically realised. The staging is simple but highly effective: a fragmented floor seems to suggest the outlines of the three countries where the narratives are set, with a large mirror upstage not only reflecting the floor, but with its mottled and stained appearance, it also cleverly suggests the opaque and illusory nature of truth. In addition, the use of lighting and shadow is highly effective. London Classic Theatre have been producing critically-acclaimed shows for thirty years. Director, Michael Cabot, and his creative team, deserve praise for reviving this deliciously dark drama, one which will have you pondering and questioning long after the deserved applause has faded.”

Tony Clarke – Stage Talk Magazine ★★★★

“London Classic Theatre has proved that the story of Beverly and Laurence’s fateful drinks party remains as engaging, interesting and relevant as ever; Michael and Kathryn Cabot’s show is beautifully put together, razor-sharp and devastatingly effective. From the orange leather suite to the geometric wallpaper and textured glass on the drinks cabinet, Bek Palmer’s set design is wonderfully elaborate. Rebecca Birch is hilarious as Beverly, and creates some particularly enjoyable moments with Alice De-Warrenne as the weedy new neighbour Angela, who gets a laugh almost every time she opens her mouth. Tom Richardson brings a welcome sense of strength to the role of Laurence, Beverly’s husband, an energy that is matched by the taciturn power of George Readshaw’s Tony. Jo Castleton creates a genuinely sympathetic character in the older divorcee Susan.”

Imogen Usherwood – Broadway World ★★★★★

“Set in Paris in 1962, Marc Camoletti’s play is a delightfully fraught farce about Bernard, a successful architect with a complex love-life that revolves around a highly-organised diary and airline schedules. That is because he has three fiancees, all of whom are flight attendants for different airlines, with different schedules, and with the help of his maid Bertha, all three are blissfully unaware of each other.

London Classic Theatre, now a national treasure with its careful reproductions of otherwise little-seen modern classics, gets under the skin of the farce well, with great comic timing and some lovely, deadpan one-liners. There is a nicely-judged descent from calm and control to panic and near-hysteria as Bernard attempts to keep all three fiancees apart – while all are in the flat at the same time. And as with all good farces, all’s well that ends well.”

Richard Evans – Theatre Reviews North ★★★★