The Pitchfork Disney

Time Out“Brooding revival revels in the weird richness of Ridley's script...” It's exceptionally crafted but there is something profoundly unsatisfying about the way it shifts inconclusively, confounding your expectations instead of unpacking its mysteries or locating or defining its vision...

Financial Times“An electrifying ardour for telling stories...” Director Edward Dick, who in 2009 revived Ridley’s second play The Fastest Clock In The Universe, knows just how to mix the reality and the un- into a most disturbing blend.

The Arts Desk“A powerful and imaginative drama...” Suddenly, theatre is no longer about journalism or soap opera, but about the hidden corners of the mind. You can easily see why the play is credited with rewriting the rules of playcraft...

The Stage“A marvellous evening...” This thrilling and disturbing production by Edward Dick brilliantly balances emotional realism with the soaring fantasy of the text, and has a superb cast headed by Chris New as the man-child Presley and Nathan Stewart-Jarrett...

this is london“A mixture of the riveting and the numbing...” Ridley's writing delights in metaphor and is often intriguing, yet it's rather too effortfully enigmatic. Ultimately the surrealism and operatic gestures feel punishing, and the production isn't as rancidly unpleasant as it needs to be...

Whatsonstage.com“Wild theatrical imagination...” Ridley’s theatre pushes his characters even further, into violent fantasy and trembling fear; and any audience is fraught with danger...

The Independent“A well-documented reality...” It stands up wonderfully well. Ridley taps into universal fears and anxieties though giving us (if I may presume to say so) access into a blackly comic and cockneyfied version of his own...

Guardian“Fantastic confection, full of bilious poetry...” This is not an easy evening, and definitely not one for those who like their theatre uncontroversial, of free of pictures of snakes cooked alive and giant penises being scraped along the tarmac...