Reviews from the Female Playwrights Season
The Years Between
‘Caroline Smith’s production brings out all the play’s subterranean performances and
the central performances are first-rate’ (The Guardian)
‘Caroline Smith’s production is taut and impressively acted…Drama of substance’
(The Times)
‘Compelling performances from Mark Tandy and Dominic Chelsom’ (TimeOut)
Once We Were Mothers
‘Ellie Jones’ thoughtful production’ (Whatsonstage)
‘Each story is beautifully served in Ellie Jones’ emotive, intelligent and finely judged
production’ (TimeOut)
‘It’s impossible to single out one of the leads – they are all superb’
(Richmond & Twickenham Times)
‘Ellie Jones directs with skill and fluency…a thoughtful, affecting play’
(Rogues and Vagabonds)
Chains
‘Elizabeth Baker’s play is a real find. I’d never heard of her before, and I’m grateful to
Sam Walters and his indefatigable team for finding her’ (The Sunday Times)
‘This forgotten gem’ (The Independent)
‘A particularly fine performance from Octavia Walters’ (TimeOut)
‘Octavia Walters’ Maggie is magnetic, and the Orange Tree is to be treasured for
putting such fine period dramas back into circulation’ (The Independent)
‘Auriol Smith’s meticulous production’ (Financial Times)
‘As so often, this intimate theatre comes up with one of the best plays in London…
Auriol Smith’s excellent production’ (The Guardian)
The Woman Hater
‘A lost treat…A genuine discovery’ (The Guardian)
‘An evening to cherish’ (The Stage)
‘Sparky, shrewd comic drama’ (The Independent)
‘The Orange Tree’s latest discovery from its valuable delving into the mausoleum of
forgotten plays serves a reminder of Fanny Burney’s importance’ (Evening Standard)
Next Door’s Baby
‘Riona O’Connor…Emily Sills…and Stephen Carlile sing exceptionally well’
(The Guardian)
‘A little bundle of joy…Supremely successful’ (The Times)
‘Gaughan’s sparky script…Terribly funny’ (Richmond & Twickenham Times)
‘Louise Gold as Mrs O’Brien is a tower of strength’ (The Guardian)
Chains of Dew
‘It keeps coming up with the goods…Nora is superlatively played by Ruth Everett…
Kate Saxon directs the play with tremendous panache’ (The Guardian)
‘Glaspell has written three marvellous parts for women, played here with such zip and
relish that they come zinging off the page’ (The Stage)
‘Sparkling performances’ (Financial Times)
‘The Orange Tree Theatre has struck gold once again’ (The Telegraph)
‘Brilliantly witty and biting…Exhilarating’ (The Times)
Glaspell Shorts
‘Helen Leblique’s beautifully understated production’ (The Guardian)
‘Phoebe Barran’s sparkling production…Ruth Everett is divinely funny as Henrietta…
As sweet and crisp as a meringue – delicious’ (The Times)
‘Beautifully observed performances of such verve and wit that they recall the best of
1930s Hollywood comedy’ (British Theatre Guide)
De Monfort
‘Imogen Bond’s production is full of atmospheric vigour…Justin Avoth glowers
superbly as the hero and speaks the verse ringingly well’ (The Guardian)
‘Imogen Bond’s production is tense and precise’ (Sunday Times)
‘Joana Baillie’s 1798 tragedy was a big hit in its day…and you can see why’
(Theatreguide London)
‘A portrait of real suffering’ (Theatreguide London)
‘Imogen Bond directs with the solid reality and effective use of the in-the-round
theatre that we have come to expect from the Orange Tree’ (Theatreguide London)
Last Train to Nibroc
'Twinkles with kooky charm an tenderly observed foible...beguiling...pitch-perfect performances' (The Times)
'A tapestry of understated, genuine emotion' (WhatsOnStage)
'Nostalgic charm...a satisfying triumph' (The British Theatre Guide).