Bull

Financial Times“The structure of the piece itself resembles a bullfight...” The final impact of the brief piece (a mere 50 minutes) came after its close, when a friend remarked that he believed many of the audience were rooting for the picadors, buying into their rationale about culling a weaker member of the tribe..

The Telegraph“Gives a ringside view of corporate nastiness today...” Clare Lizzimore directs this stomach-churning spectacle well but can’t hide the writing’s contrivances. Bull is good but isn’t as yet up there with Bartlett’s best...

Whatsonstage.com“Plenty to ponder as the play ends...” Under Peter Mumford's stark fluorescent strip-lighting and on Gilmour's nasty, institutional carpet, there is nowhere to hide, but fortunately no need to. The main trio of protagonists... never drop the ball...

Guardian“It may only be a sliver of a play, but it's a steely one...” Clare Lizzimore's production garners fearless performances, none more so than Troughton's desperate Thomas, who develops the stumbling gait and wounded eyes of an animal who knows he's for the slaughter...

Exeunt“Bull taps into something incredibly relevant and potent...” Bull is a short, sharp shock of a play; one with which it’s, scarily, all too easy to identify. Claire Lizzimore’s direction is fast-paced and she choreographs the performers incredibly well, injecting a real sense of unease into proceedings...

The Stage“Short, slick and emotionally unflinching...” Bartlett’s writing escalates this triangular relationship with forensic precision, gradually raising the stakes from jokey competitive fun-poking until they reach a bleak and brutish tipping point...