After the Dance

Financial Times“Perfectly pitched staging, there are holes in both play and production... ” What makes this production so good is that she draws out Rattigan’s subtleties and sympathies, making us realise that it’s not for nothing that he has been dubbed the English Chekhov. It all unfolds a little slowly for modern tastes...

The Telegraph“This is a great and wonderful revelation...” The performances are first rate. Nancy Carroll is almost unbearably moving. Her eerily quiet sobs and shrieks provide the play’s emotional heart. One leaves the theatre convinced that a neglected classic has finally been honoured...

this is london“The National Theatre at its best...” An obscure yet excellent English play, directed with tact and vision, stunningly performed. A harrowing critique of a period of heedless frivolity and a dazzling reminder of the strengths of Rattigan’s writing...

The Independent“Handsome, shrewdly conceived and expertly acted revival...” The production vividly evokes the tawdry vapidity of the lost, between-the-wars generation. The most likeable character is John, beautifully portrayed by Adrian Scarborough. He touchingly suggests the reserves of wisdom and affection...

The Times“The Twenties and Thirties still fascinate...” Something fresh, cryogenically preserved from that time, has a powerful draw. It is engaging, brilliantly done, funny at times, but frankly a harsh piece of emotional archaeology....

The Stage“A huge, accomplished cast...” Superbly articulated production. A deliciously comic turn by Adrian Scarborough as the amusing parasite John Reid, but the great, beating heart of the play comes with Nancy Carroll’s glorious performance as Joan...

Guardian“Superb production....” Everything about this production is dead right. Sharrock's superb production captures not only Rattigan's ability to blend the psychological and the social, but also his extraordinary breadth of human sympathy...

Whatsonstage.com“Thea Sharrock’s production is a revelation...” This is one of the most significant, glorious and enjoyable productions in the National’s history. It’s like early Noel Coward mated with mature David Hare. And it’s studded with lovely cameos...

Time Out“Not yet reviewed”

New Statesman“Not yet reviewed”