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 ‘Shakespeare at its best  …’

This production of Richard III, directed by Jonathan Legg, is nothing short of a triumph … . A combination of director and principal actor has created a unique take on the dastardly demon that is the deformed and debauched ‘soul-who- would–be-king’  … This is Shakespeare at its finest where you are acted to not acted at. It is where a complex plot is made easy to follow and overall theatrical outing becomes a joyous experience …’ 

Bromsgrove Standard


Throwing shade on the RSC …’

‘It is a masterstroke to being the play with scenes of Richard murdering Henry VI and the crowning of Edward IV because this enables the audience not familiar with the play to grasp the background to the play’s events and establishes a splendidly clear story telling of a complicated story which is maintained throughout  …’

Stratford Herald


From Twitter:

‘@theatticsua as Shakespeare virgins we watched Richard III last night totalling captivated it was amazing absolutely fantastic we are converted what a great introduction.’ 


‘Get tickets while you can, these guys are doing Shakespeare justice.’


 ‘Went to see Richard III @theatticsua yesterday, what a wonderfully faithful performance of one of Shakespeare’s most famous histories. No gimmicks, no fantastical sets, this production brought its audience back to what the heart of Shakespeare is... it’s language and raw emotion.'


‘A lovely evening @theatticsua watching @TTB86 fantastic production of Richard III - a real masterclass on tackling Shakespeare, I’m feeling so inspired and ready for Macbeth this term!’


From Facebook:

‘ …one of the best productions I've ever seen of this play … a refreshingly clear, ungimmicky, no-nonsense production, which told a great story and told it well ...’


From Tripadvisor:

***** Richard 111

I saw this production last night and I was mesmerised by the production. I have to say I had only a vague notion of the plot when I went in but came out captivated by the villainy and treachery of the characters. A cracking evenings entertainment. I shall return for another dose of the bard. I now appreciate just how good a playwright he was, it’s a pity it’s taken 70 + years to realise that. Thanks.’ 


***** Richard III

‘… a production that was authentic and gripping from the very beginning … This production proves that Shakespeare done properly needs no gimmicks, just great acting …’ 


***** Richard III

‘I've just got back from a fantastic evening's entertainment at the Attic.

This production was wonderful - a 15th century House of Cards ! … Although it was a long play the pace never flagged and the time flew by …’. 


‘This production was not only suitable for the new Other Place, it would not have been out of place in the old one or the Swan. An excellent, lively and energetic production …’ 

Stratford Herald


‘I enjoyed the involvement of the actors pre‐performance, both before the first and second act. The company’s interaction with each other and with the audience was a hint of the good things yet to come. The cast were comfortable in their roles and confident enough to follow the expert direction of Jon Legg … … And if leaving an audience wanting more is a measure of success, this play is a triumph.’




4**** Lichfield Live

4**** Behind the Arras

4**** A Small Mind at the Theatre


‘These characters are real people who effortlessly get us on side thanks to the artfulness of writers Liz John and Julia Wright and the actors’ superbly skilful playing under the beautifully subtle direction of Jonathan Legg.’

 Lichfield Live



‘There are some very funny set pieces, especially if you've never seen a mouse preparing a man for a boxing match or a Casualty-style mouse resuscitation! … It's great to see imaginative and professionally-acted shows being premiered locally and they deserve a good-sized and appreciative audience.’ 

Choice Radio


‘I have to say that for a two-man cast, Temple and Andrews really were marvelous. They occupied the space brilliantly, left no room for dead air, and worked impressively with every resource they had at their deposal.’

Mad Hatter Reviews



‘Jon Legg steered a clean, clear line, told a moving story and made the dialogue sharp and punchy. Silence and pauses, on stage say a lot, they can play a strong part in a play and add tension, develop character and help set the tone … New Writing is the life-blood of all theatre and should be supported, where possible, especially when it has quality, professional acting/directing. Hats off to Graham Whitlock and his team at the Manor for putting this on.’ 

Sidmouth Herald



‘Wilkes is an eloquent writer and has a great sense of comedy and storytelling, which is perfectly executed by the performers under the creative vision of director, Jon Legg, who fully utilises and explores the traverse staging throughout the eighty-four mile physical and metaphorical journey of each character.’

Cheer Theatre Reviews



‘Writer in residence, Nick Wilkes, has created a neat and tidy in-house piece for this Malvernbard production and it gains strength from Jon Legg’s enterprising direction, Paul Ralph’s comfortable set and solid performances throughout.’

Malvern Gazette



‘Trust in both the author and the director, Jon Legg, is a vital element when staging successful new work. All four can be proud of an engaging, scary, and surprisingly educational evening …’




‘Jon Legg does a great job of directing a relatively static play, within Paul Ralph's suitably stark and clinical set design, while Ben Merrick's atmospheric lighting design and Andrew Davis and Neil Rose's clever sound design enhance the production.’

Cheer Theatre Reviews


‘With such a heavy subject matter it would be easy to leave the audience feeling deflated but it strikes the right balance between glancing to the past and looking at what lies ahead … The action on stage is so gripping and all-consuming you almost forget that the illustrious Simon Callow voiced the poignant speech given by Stephen’s father, James.’

Worcester News


‘The action, with a surprisingly large cast, filled the space admirably. The choreographed movements did give the impression of a transit lounge. … The staging and atmospheric soundtrack added much to the whole production.’




‘Jon Legg directed fruitfully as well as playing Duncan … In total, we were treated to a completely satisfying evening. Go and see this play. It doesn’t get better than this.’


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