Reviews & Awards

OLYMPUS DIGITAL CAMERASEVEN DWARVES

All Edinburgh Theatre, November 2014 

“Isn’t kissing dead people wrong?” And how can you tell what perfection in beauty is? Good questions from Jumpy there, if not exactly original, but well worth asking again. Especially in this low-key production which makes room to mash-up styles and genres without ever needing to explain itself. And then in walks the Prince. Prince Edward, to be precise, and suddenly the stakes rise several notches, as the company don’t so much subvert the hero archetype as eviscerate it and pin its gizzards out in a rose-fringed garden for the ants to play with. … An interesting piece of new writing which, while it turns over familiar themes, breaks through its earnestness to do so in a fresh and entertaining manner.”

 

 

 

NATIONAL LOAFNL2

Ed Fringe Review, 2014

“The acting standard is certainly not rationed, and I am pleased to note a majority-women cast: generally faultless characters are nuanced and accomplished. The clipped tones of each male part perfectly offset the squeaky Cockney voice of Mollie, a woman who fell into the meat industry by accident.The glint in Liz’s eye matches Mrs Baker’s outspoken dialogue, and as a whole the actors gel extremely well.”

“The play’s use of its subject matter – the rationing, specifically of bread, that so crippled English morale during the war – is subtle, and the production doesn’t really draw attention to its wartime setting. Rather it uses the war as a vehicle for its gentle, distinctively British comedy.”

 

 

GraceLOVE & FRIENDSHIP

Edinburgh 49, May 2014

“Love and Friendship … is writer Laura Witz’s adaptation of the 14 year old Austen’s parody of the sentimental novel. It is a glad, ludicrous and enjoyable piece where the broad comedy is still clever and effective.”

All Edinburgh Theatre, January 2014

“Brimming with overplayed emotions and inappropriate attitudes, Laura Witz’ adaptation of Jane Austen’s early epistolary novel – Love and Freindship – is an utter treat. Here, in an atmosphere of rarified romantic attraction, bosoms must heave, men are either handsome heroes or dastardly villains and there is no quarter from cliché as the elderly Laura … relates her sorry story.”

Edinburgh Theatre Review, January 2014

“This is a very fun play, and if it is performed again, I would certainly recommend it. Not only is it fascinating to glimpse a bit of what Jane Austen was like as a girl, but it is a whole lot of fun to see her send up the genre she herself ended up dominating.”

 

 

GOBLIN’S STORYGoblin

Goblin’s Story was a winner of an Edinburgh49 Prize 2014 for Distinctive and Memorable Theatre.

Edinburgh 49, 2013

“This production achieves so much in so small an amount of time and in such an imposingly characterful venue. … A literary and literate script given a lively and lucid shine by a company of accomplished artists.”

All Edinburgh Theatre, 2013

“Clever and articulate, Laura Witz’s creation of a back-story for Christina Rossetti’s Goblin Market makes for a quirky and satisfying hour of theatre. … what Witz does excellently is create a sense of humanity for the missunderstood bad guys, as Jabberwocky insists on describing them. It is there in her script, which is punched full with wit. But it is even more evident in her sympathetic staging, which seems to say that the fruit of Rossetti’s proto-feminist tale – for us today – is a world where redemption is possible for those on all different sides.”

 

 

FannyMANSFIELD PRESENTS

Edinburgh 49, May 2014

“Fanny Price has a lot of needle-work to do and exactly as on-the-page(s) she has the admirable intelligence to stay quiet as all around her sound off. The red velveteen curtain is hung and the characters that matter are in place, costumes are just so, Rushworth’s sword has gone missing, and Maria is swooning over Henry Crawford. Edmund will, for sure, love Fanny and she him, but not yet.”

Three Weeks, August 2013

“…the show was actually wonderfully frothy and silly, as we see the characters from Jane Austen’s ‘Mansfield Park’ put on ‘Lover’s Vows’ by  Elizabeth Inchbald. … This light, witty and lavish production undoubtedly brings new life to ‘Mansfield Park’.”

Flaneur, August 2013

“…will appeal to Jane Austen lovers who know the scene in Mansfield Park and will relish the extra focus that the play brings to a difficult book.”

 

 

MISS MARCHBANKSLorna

Broadway Baby, 2012

“Tight collars and tighter dialogue were on display as Charlotte Productions continued their ‘adaptations of forgotten literature’ with Miss Marchbanks, a delightful romp of a Victorian play that managed to fulfil its potential whilst belying its stuffy roots. Given that the original subject matter is the sort of show regularly turned into a turgid Sunday afternoon BBC2 drama, it came as a pleasant surprise to find that Miss Marchbanks was both salacious and hilarious.”

Ed Fringe Review, 2012

“Laura Witz, the writer, has created personalities that are hilarious in an understated, almost unplanned, way. Chiley’s obvious prudishness combined with her lack of subtlety, in addition to her hilarious facial expressions, warrants a number of laughs from the audience. … Miss Marchbanks is a competent production with a competent cast. For what it is – a Victorian drama about the local election – it is well-thought out with entertaining characterisation and cleverly written phrases. ”

 

 

plays  Caroline Denton-SmythePOOR CAROLINE

Ed Fringe Review, 2011

“After their success with Lady Susan at last year’s festival, Charlotte Productions return with their adaptation of Winifred Holtby’s Poor Caroline. This company is clearly talented and has a clear objective: ‘producing adaptations of forgotten literature’. Poor Caroline tells the story of Caroline Denton-Smyth, who creates a ‘Christian Cinema Company’ with a number of less than interested investors. The play documents the company’s downfall and the relationships of the people involved. It is refreshing to be presented with a period drama that I haven’t already seen too many times, and the company achieve their aim in publicising this little known work by Holtby.”