In 2004, I directed angels in the architecture’s revival of Arthur Schnitzler’s “The Round Dance”, the Viennese fin de siecle play which provided the inspiration for La Ronde and for The Blue Room.
Transposed to 19th century Victorian London, the production was layered through with the aesthetics, history and social mores of Camden’s rich local history – from gin palaces to marble halls. The undercroft of the Roundhouse with its monumental, maze like circular structure, was a central element in the design and rehearsal process, influencing performance structure, design and audience reception.
Excellent use of this unconventional space throughout, and the direction by Rebecca McCutcheon, is remarkably innovative. Jocelyn Barker as the Prostitute is the pick of the female parts, while Scott Frazer acts everyone else off the stage
Camden New Journal, 26 February 2004
If Schnitzler only wanted to expose our venality, ten scenes making roughly the same point would wear thin. But Rebecca McCutcheon’s production gradually brings out the idea of promiscuity as a marker of human longing. The six performers blend the merciless and the light with enough verve to make this a pleasure fit to chill the heart.
Metro 25th February 2004; (****)
Strips bare the differing agendas and misunderstanding between classes and sexes… packed with pared-down dialogue which seems to come straight from the horses mouth. Ryan Ellsworth’s pompous moralising husband is at first hilarious then sinister
Ham & High 27th Februay 2004 (****)
staged with a wonderful vibrancy and physicality due in no small part to the work of Movement Director, Sarah Thom
What’s On, London, March 2004
Witty, economical and entertaining. Nicholas Prideaux provides an especially striking contrast as both a poor man’s Byron and an etiolated wimp.
Sunday Times 29th February 2004
A strong sense of an entire seething city connected by a chain of sexual encounters
The Guardian 28th February 2004