There’s only so many lofty comparisons to gratuitous violence that you can take before it descends into the superficial; missing the chance to create a truly gripping and menacing dialogue.
The cast of nine works hard to bring consistency, humanity and humour to an often bitty and occasionally ranty play.
This is definitely one to watch out for in the future, a face-stuffing feast of polyphonic fantasy, post-colonial farce, and riotous, rumbustious imagining.
Director Noah Birksted-Breen shows in his use of music, puppetry, and acting with mime-like precision, a focused vision and tight control of theatrical possibilities.
Kinnear's Piato and Cowan's Lussurioso are just two of many excellent comic performances on display, but there's nothing recognisable as a great tragic performance.
Chi Chi Bunichi is a devised ensemble performance exploring the resonant qualities of Ladino, a dying language once widely spoken throughout the Balkans, but now surviving only in songs.
Alexander Fiske-Harrison’s new play at the Jermyn Street Theatre is well-made in every sense of the term.
The Ugly One is a play about outward appearances, and this production at the Royal Court deliberately pays no attention at all to its own outward appearance.
In the end it’s the fragments of ancient stories that resonate most strongly through The Diver, moments of unexplained but intense ambiguity and allusion.