The Suit

The Stage“The comedy has been played down...” The result is a piece much darker and sadder than before, the central story playing as domestic tragedy rather than comic fable...

Guardian“Undernourished and overblown...” Its simplicity is undeniably pleasing, but its self-conscious elegance prettifies emotions and actions, dilutes the tragedy and sends you out into the night feeling jolly rather than sobered...

Exeunt“It has lost none of its power or resonance...” A vibrancy which reflects a determination to find cheer in the darkness – a resilience which, for all its quietly devastating ending, The Suit somehow manages to convey...

Whatsonstage.com“Surprisingly light and breezy...” There is much to enjoy - not least Kheswa’s sublime vocals - and Brook’s production (a collaboration with Marie-Hélène Estienne and Franck Krawczyk) makes up in charm what it lacks in substance...

Evening Standard“It's a disappointment...” This is a Suit stuffed with fillers, with unnecessary songs and twee audience participation, which only serve to highlight how slight the central core of the work is...

The Telegraph“Theatre as it should be...” Something in the elliptical storytelling, and the absolute control that its changes of mood exert upon the audience, feels like the product of Peter Brook’s infinite experience...

Financial Times“Fluent and assured, but uncompelling...” The depredations of township life, from pickpocketing to murder by police, are mentioned on a number of occasions, but there is no sense of linkage between his victimhood in outside life and the psychological oppression which Philemon imposes...