FAUST

Johann Wolfgang von Goethe

Altes Schauspielhaus Stuttgart

The young brit (Ryan McBryde) presents a refreshingly unconventional and highly modern reading of this german heavy weight. For two and a half hours the director spins a pulsating tale enhanced by techno-rhythms, precisely timed and expertly choreographed. Each moment is delivered perceptively, smartly, sensually and compellingly – in short: a must see portrait of a narcissist driven to self destruction.

ESSLINDER ZEITUNG

Faust for the next generation ... the staging works quite exquisitely: for it goes with the material easily and playfully. It is fast paced, the minimalist stage is transformed swiftly and fluently, accompanied by atmospheric beats or a simple ambience. Top Marks.

NACHT KRITIK

Instead of being intimidated by the Goethe's formidable reputation, brit Ryan McBryde confidently directs Faust as a daring pop-art-theatre ... a pitiless expose of a perverted consumer society. The famous pact between Faust and Mephisto becomes a brutal triumph of superficiality and intoxication over morality and ethics. The only counterpart is the shy Gretchen (striking: Katharina Paul), who is destroyed by the ruin of this reality.     

STUTTGARTER ZEITUNG

Without smashing it, without depriving it of its roots, the director can claim that he has given the play that the doyen Goethe deemed as 'unplayable' a whole new look; this courage deserves praise. McBryde works discriminately on the detail; he doesn’t content himself with putting this drama into new clothes but he creates new content as well. With an inventive use of video he makes the famous verses enjoyable, illustrates them afresh, and casually delivers an exciting and entertaining production. 

LUDWIGSBURGER KREISZEITUNG

Direction     Ryan McBryde
Design         Sarah Beaton
Light           Ben Cracknell

Video          Rebecca ter Braak

Sound         Christian Sunkel

Ensemble

Christoph Bangerter

Lukas Benjamin Engel

Peter Kempkes

Tilmar Kuhn

Nicole Lohfink

Katharina Paul

Stefanie Stroebele

Alexandra Marisa Wilcke

SALISBURY PLAYHOUSE

The tensions are pinging like electric shocks out into the audience in this wickedly funny satire. Two particularly strong features of this production are the pitch-perfect period acting and Philip Bretherton’s blistering performance as Aubrey. When I last saw Before The Party, I left the theatre dissatisfied, knowing that there was a good play there, spoiled by self-indulgent performances – this Salisbury production shows just how good it is … a beautifully paced production by Ryan McBryde.

FINE TIMES RECORDER

The casting is fabulous and the family dynamic creates brilliant comedic moments which had me laughing throughout. The setting and costumes were exquisite … Before The Party made for an amusing evening of theatre packed full of family drama, intrigue and plenty of laughs. 

SALISBURY JOURNAL 

The latest revival, of Before the Party, is a triumph for Salisbury Playhouse. Ryan McBryde’s beautifully paced production is pitch-perfect on period voices and acting styles.

YOUR VALLEY NEWS

A fun satire of the rich with plenty of zest, this latest revival directed by Ryan McBryde is a delectable production.

REVIEWS HUB 

Katherine Manners is glitteringly malicious ... Philip Bretherton gives a commanding performance ... Susan is played delightfully by Eleanor Bennett ... The production is an entertaining foray into a time when aspirations and attitudes were in flux. 

GAZETTE AND HERALD

Rodney Ackland’s play is actually based on a Somerset Maugham story, so you can expect plenty of irony and, in consequence, plenty of laughs … We leave the first half in a state of nail-biting suspense.

BRITISH THEATRE GUIDE

A scathing portrait of post-war Britain, in particular the wealthy Surrey Gold Club set with all its snobbery, hypocrisy and sheer vindictiveness … thought provoking drama!

DAILY ECHO

Awful families have always made for great theatre. The craven, social-climbing Skinners in W Somerset Maugham's short story Before the Party are no exception. A handsome revival by Ryan McBryde.

THE STAGE

Director Ryan McBryde

Designer James Turner

Lighting Designer Ben Cracknell

Sound Designer Jon Roache

Casting Director Anji Carroll CDG

Assistant Director  Flora Longley-Cook

Photography Robert Workman

Cast

Sherry Baines

Eleanor Bennett

Philip Bretherton

Roberta Kerr

Katherine Manners

Bathsheba Piepe

Matthew Romain

1984

ALTES SCHAUSPIELHAUS, STUTTGART

Nominated for the Deutschen Theaterpreises DER FAUST

Ryan McBryde and his team did a great job at presenting a thrilling, entertaining and solid piece of contemporary history on stage. Sounds, lights and Jan Karlsson’s & Sascha Vredenburg’s rapid video sequences, combined with McBryde’s explicit theatrical language and the brilliant cast adds up to an extremely intense evening that appeals to all our senses and turns out to be exciting and – in spite of the terrible topic – very entertaining. The drama is crowned by fantastic Ralf Stech playing the part of Winston Smith. All of this takes place in a remarkably refined, sophisticated stage setting of such appealing, simple elegance that this alone would make 1984 worth a theatre visit – if it wasn’t for all the other wonderful things this staging has to offer that are definitely worth seeing as well.

ESSLINDER ZEITUNG

The nerve to go in new directions pays off – Ryan McBryde succeeds with a great staging of 1984 ... McBryde manages to stage a courageous, even draconic production. He mesmerises his audience with intense images, the horrors of which, are almost tangible. The ingenuity of Diego Pitarch’s set and Ben Cracknell’s lighting demonstrate the homogeneity of the creative team’s vision. The reward of the hard-earned boldness of all contributors is one of the best productions we have seen on this stage for the last few years.

LUDWIGSBURGER KREISZEITUNG

The elimination of the individual – Altes Schauspielhaus stages Orwell’s dark utopia 1984 – with drastic imagery and smart direction. 

The production fizzes with creative ingenuity and zippy transitions in a cleverly designed décor which allows the office walls of the “ministry of truth” to change swiftly into railway compartments or prison cells. McBryde doesn’t turn 1984 into a historic re-enactment of post-war Europe, but carefully demonstrates the contemporary relevance of the play. His heroes and anti-heroes are wearing woollen suits in the style of the 1940’s, but the dog collars around the necks of the torture victims instantly evoke Guantanamo.

STUTTGARTER ZEITUNG

The focus of this production is the breaking of a man, absolute mind control. Torture is not only to make someone suffer pain but also to destroy his spirit, his individuality auszulöschen- extinguish it. Does Ryan McBryde’s staging capture the oppressive mood, anxiety, persecution, the swelling fear? Yes, definitely yes. Finally, finally somebody has dared to do something different. This production should thus also play on big stages, in all other cities across Germany. Doubleplusgood. 
LIVE KRITIK

A frothy, exhilarating spree of a production but with a dark mineshaft at its heart. For all the Odyssey Club dance excesses, the story of Tony - a macho anti-hero who lives with his downtrodden mother and unemployed and violent father - takes us to the heart of late teenage frustration. This musical is a great, heart-warming, uplifting night out - try to catch it before it moves on.
WORTHING HERALD

What sets Saturday Night Fever apart from other pop musicals is its sense of reality; it depicts blue collar Brooklyn life with little compromise and retains the dark strand that runs throughout the movie ... a fun, sexy, poignant show.
BRADFORD TELEGRAPH AND ARGUS

The imaginative approach of McBryde takes the show past the big dance-off, where most musicals would call it a day, towards a darker conclusion. If you want the grit of the film and hits you remember and some very fine dance moves, you'll love it.
WHAT’S ON STAGE MANCHESTER

Ryan McBryde’s stage version of the 1977 film is a slick, absorbing snapshot of the urban reality of late ’70s New York. Grim realities including long-term unemployment and people queueing for gasoline. This is a breathtaking production with as much to say as it has to sing.
LIVERPOOL ECHO 

FORGET Saturday Night Fever - this will heat you up any night of the week. Saturday Night Fever is pretty much faultless - well worth Stayin' Alive for.
DAILY RECORD, GLASGOW

While Saturday Night Fever is undoubtedly one of the most loved dance stories of all time, this particular production is more than just a mere disco-musical. Director Ryan McBryde does an excellent job of turning the sketchy plot into a gritty, hard-hitting New York street drama that is fresh, innovative and different. The underlying themes of social aspiration, racial hatred and sexual yearning are emphasised through the musical numbers, with Bee Gees classics such as Stayin‘ Alive, Tragedy and You Should Be Dancing reworked into acoustic and accapella numbers, allowing the audience to listen and reflect on the lyrics.
PUBLIC REVIEWS

This tremendous, in your face, heart-wrenching take on the musical refuses to pull punches and is all the better for it – this is powerful, emotive and dramatic stuff that raises the bar for any who may dare to follow in its wake...
CRAWLEY OBSERVER

With a trace echo of They Shoot Horses, Don’t They? this is a brave production... a gritty and scabrous depiction of a poor Italian/American neighbourhood in the Jimmy Carter 1970s when gasoline shortages and high unemployment were rife...A welcome if bracing change then but the salty language, unreconstructed male chauvinism and themes such as abortion, Catholic guilt, poverty and gang violence prevent this from being just a nostalgia trip down Disco Lane. Mamma Mia! it ain’t.                           DAILY EXPRESS 

Translating Saturday Night Fever from film to stage was a risky move for director Ryan McBryde, who was keen to include the “raw and dark” scenes that were edited out of the film for being too racy. Personally, I think the risk paid off. The story was very well done, with excellent actors and singers dealing with the sometimes difficult-to-watch scenes with complete professionalism.                                                                  BUCKS FREE PRESS

Disco lovers are running a temperature as director Ryan McBryde’s Fever infects the Theatre Royal in a positive way this week. Anyone expecting a Sound Of Music-style singalong might be surprised at the edginess and dark humour behind the plot.
THE ARGUS, BRIGHTON

A fast and furious paced, visually spectacular and exciting production ... stunning.
BATH CHRONICLE

NORTHAMPTON THEATRE ROYAL

"Hamlet the musical was infectiously, insanely enjoyable"

STEPHEN FRY

THE 21ST-CENTURY MUSICAL THEATRE'S ANSWER TO THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED).

THE GUARDIAN

From start to finish this is a gloriously executed spoof ... It’s one of those shows where everything clicks and is sprinkled with the stardust of wonderfully silly. A very palpable hit - with puppets! 

DAILY MAIL

Gleefully inventive and irreverent. See it or Elsinore! 

THE SCOTSMAN

A very talented and hard working cast of six play a variety of roles in this pacey and tuneful adaptation ... a delight.

WHAT’S ON STAGE

An electrifying rollercoaster ride through the story of the Prince with the ‘Danish Blues’. It will be a crime if this show doesn’t transfer after the festival. 

THE PUBLIC REVIEWS

Has probably the strongest cast of any musical in Edinburgh To see or not to see? See it, obviously. 

BROADWAYWORLD.COM

Comes packed with laugh-a-minute jokes, some extremely clever tunes, and an amazingly imaginative set design ... might very well be the best show in 2010’s Fringe Festival.

HAIRLINE

This musical romp through Hamlet is a total delight, from the opening soliloquy ("I've been feeling kind of gloomy/But my father's dead, so sue me") to the grand sing-along finale...

THE STAGE (Must See)

Salisbury Playhouse

Salisbury Playhouse's pantomime fires on all cylinders from start to finish - a real crackerjack of a show to lift the spirits of even the most bah humbug of us. This Cinderella scores on every level - sparkly sets, appealing characters, good song choices, wacky costumes, strong visual gags, jokes with plenty of local references and only a smidgeon of innuendo, plus enough audience participation to keep the kids on their toes. All the traditional elements are here but director Ryan McBryde and designer Diego Pitarch give it a steam punk twist with cogs, wheels and tiny top hats.

Verdict: Salisbury will have to work hard to better this truly enchanting Cinderella with a steam punk twist

THE STAGE

So many wonderful things about this panto, the wit is constant. No one—not even the little ones, and there are some very little ones—falls asleep. Writer Andrew Pollard and director Ryan McBride have come up with some innovative variations on the traditional story …but what about the fairy godmother? Of course there’s a fairy godmother. With her warm Caribbean accent, she is everyone’s confidante and best friend. When we leave the Playhouse and go out into the cold December night, not only will we all have many delightful memories, but we will, for a while at least, carry her sunshine with us.

BRITISH THEATRE GUIDE

Christmas festivities stormed into Salisbury Playhouse with an enormous pantomime bang as Cinderella opens to a full house of exuberant children and excited adults.  Director Ryan McBride and writer Andrew Pollard have a sure fire hit on their hands with their adaptation of this pantomime stalwart. With an inventive set comprising clocks and cogs, colourful costumes and wigs that would make your hair stand on end there is no doubt that this production has something to appeal to everyone. From catchy pop songs, double entendres and the obligatory audience sing-a-long this is an evening full of fun and belly laughs. This is panto at its very best and at its most traditional; there are no 3D effects, no big celebrity names just excellent performances and an excellent show.

REVIEWS HUB

Design - Diego Pitarch

Choreography - Grant Murphy

Lighting Design - Howard Hudson

Sound Design - Mark Noble

Produced by Salisbury Playhouse 

Musical Director - Glynn Kerslake

Casting Director - Kirsty Airlie

Miley - Andrew Ashford

Kylie - Michael Cahill

Baronness - Jemma Churchill

Buttons - Patrick George

Cinderella - Elaine Glover

Prince Charming - Alex Hammond

Fairy Godmother - Gbemisola Ikumelo

Dandini - Leon Scott

Photography - Robert Workman 

WEST YORKSHIRE PLAYHOUSE

Pumped up and fast moving the show rattles along with the energy of a pop concert ... this is a production that surely must endure beyond the three weeks it’s scheduled at Leeds. 

The Independent 

Ultimately, director Ryan McBryde has to take credit for cranking up the farce and a sense of anarchy while delivering a highly synchronised show. The result is one of the best stage adaptations ever produced and one which, surely, is destined for even bigger things.

Yorkshire Evening Post

Ryan McBryde's up-tempo production...becomes difficult to resist. I laughed, I cried, though if there was an accident in the piddly-diddly department I'm not likely to admit it here.

The Guardian

An energetic rollercoaster ride ... this is a strong ensemble piece, with music, dance, comedy, assured direction and a clear emotional drive.

What’s On Stage

Louise Rennison’s witty, well-observed tales of teenage life make a winning transition to the stage care of Ryan McBryde’s lively production.

The Stage

A brilliant, exuberantly youthful cast, a script that pushes all the right buttons and a directorial hand that borrows from the best (there are hints of the Marx Brothers, the Reduced Shakespeare Company, Kneehigh and even Inspector Clouseau here) combine for a mega-hit.

Yorkshire Post

ARCOLA THEATRE

Psychological drama is notoriously difficult to pull off as a musical but all the elements here are spot-on, from David Woodhead's atmospheric setting to Ryan McBryde's fluid direction that seamlessly knits together the passing of time. A meticulously constructed psychological thriller complemented by a gripping score and a cast that knows how to exploit it.

THE STAGE 

Ryan McBryde directs a taught, plausible and ultimately moving production that goes some way to demonstrate the power of language, love and grief.

TIME OUT 

This show was wonderfully directed ensuring perfect use of the space available. Should you go and see this? YES! Without a doubt the best production I have seen this year and the best Off West End production I have EVER seen. 

LONDON THEATRE 1

The House of Mirrors and Hearts is a unique new chamber musical. Perfectly suited to the intimacy of the Arcola Theatre, Ryan McBryde's production intrigues and entices.

WEST END FRAME

The House of Mirrors and Hearts is a compelling piece of musical theatre which benefits from sharp writing, visceral music and layers of tragedy: a credit to contemporary music theatre.

MUSICAL THEATRE REVIEW 

Director Ryan McBryde keeps the action fluid, cast appear and disappear… You can’t help but get a feeling of voyeurism as you watch this family in what seems like a spiral towards ultimate self-destruction.

BRITISH  THEATRE.COM 

This is a dark, though-provoking musical, packed with raw emotion and feelings that, in certain scenes, set the spine tingling. The sombre musical score expertly adds to the drama and emotion, with poignant, strong sounds supporting fantastic acting from the five-strong cast. Impressive - don’t miss it.

THE WHARF

A brilliantly chilling investigation into the hidden stories of a fractured home, punctuated by Eamonn O’Dwyer’s original music and songs.

THE UPCOMING

O’Dwyer and Gilbert show a nifty gift for drip-feeding information throughout the narrative so that the noir-ish feel of Ryan McBryde’s production is certainly well-earned, mirrored echoes of past and present haunt each scene to make it visually rich. The House of Mirrors and Hearts feels like another reason to celebrate the depth of new musical theatre writing in the UK.

OUGHT TO BE CLOWNS

Ryan McBryde directs the seven strong cast imaginatively, and uses the full capacity of the multi-level set designed by David Woodhead. Matt Haskins’ lighting design provides some ingenious moments to enhance the drama; a shard of broken mirror reflects light around the auditorium, the light from the fridge illuminates a character in anger. The House of Mirrors and Hearts has an uneasy and voyeuristic quality throughout, a haunting and beautifully realised exploration of family and grief.

BARGAIN THEATRE LAND

Written by Eamonn O’Dwyer & Rob Gilbert
Musical Director David Randall
Set And Costume Designer David Woodhead
Sound Designer Leigh Davies and David Starmer
Lighting Designer Matt Haskins
Production Manager James Nowell
Costume Supervisor Holly Henshaw
Associate Musical Director Joanna Cichonska

Anna: Gillian Kirkpatrick
David: Graham Bickley
Laura: Grace Rowe
Lily: Molly McGuire
Nathan: Jamie Muscato

Produced by Katy Lipson for Aria Entertainment & Perfect Pitch
 

English Theatre, Frankfurt

The clever direction by Ryan McBryde and brilliant choreography from Gary Lloyd create a high quality and inventive production. The cast is also close to perfection. This is a production not to be missed and one deserving a future life. A London production, or an Off-West End revival would be most welcome and long overdue. Otherwise, do rush to Frankfurt to catch it!

Musical Theatre Review 

It is unexpected for a musical, how much director Ryan McBryde takes care to ensure the whore's are people and not just stereotypes … another successful production at the English Theatre Frankfurt.
Frankfurter Rundschau

The experienced director, recently nominated for the German Theatre Prize Faust,  has succeeded in the presenting the piece with a pointed ease. 
Frankfurter Allgemeine Zeitung

The plot is deeply dramatic, the mood sombre and soulful music acts more as a storyteller than as a catchy supplier. The thirteen really brilliant performers dance, sing and act their hearts out under the direction of musical expert Ryan McBryde. Nestled in an extremely changeable, almost ingenious stage design which constitutes the artificial and yet glaring neon world of the milieu, the viewer is drawn into the plot. 
Journal Frankfurt

Ryan McBryde’s remarkable production carries across the sad certainty that there can be no happy ending here.
Offenbach-Post

The director presents The Life as a tough but thrilling story. Glossing over nothing. Despite some great ensemble and dance scenes, McBryde strongly focuses on the two main characters, Queen and Sonja. Although the dark side of human existence is explored, the productions also offers a timeless appeal for friendship, humanity and mindfulness, warning spectators not to fall for false promises and to go their own way. Much applause for this poignant execution and the great cast at the English Theatre Frankfurt. 
Culture Freak

The English Theatre Frankfurt proves with" The Life "once again that it has a knack for clever staging and technically operates at a high level. 
Musical Center

ENGLISH THEATRE FRANKFURT

Musical viewers are not always treated to such proximity, such unvarnished and excellent acting. The Who‘s “Tommy” is the most elaborate musical to appear at the English Theatre Frankfurt – The stage is small, the stage technology straightforward – but what is there is implemented perfectly and stage director Ryan McBryde has the cast perform the rest. Thus, WWII booms and roars to a bizarre dance of air force pilots and the mirror in which lost-boy Tommy stares at himself repeatedly shatters in a fantastic manner. Everything works perfectly; not because it’s easy, but because it has all been prepared meticulously.

Frankfurter Rundschau

Did we just witness a nightmare, a vision or a twitching thought? Stage director Ryan McBryde purposely leaves this question unanswered. For the first time ever, this is a logically coherent production of Tommy. Was his healing just a dream? Far more relevant than the answer to that question: the music, the performance and the beat. And all of that is top class! Once again, the English Theatre breaks the boundaries of what can be done on stage. The sound design, the timing of the costume changes, the lighting and the sequences of the video projections on two screens were worked on meticulously

PRINZ 

Thus, the successful staging with Diego Pitarch’s austere set and Tapio Snellman’s video design full of visual stimuli fosters Townshend’s original scepticism towards modern society’s promise of healing, which is seemingly attainable without self-reflection.  

Frankfurter Allgemeine Zeitung

In visually stunning scenes, stage director Ryan McBride tells this clever story. Within Diego Pitarch‘s excellent stage design, modelled on war torn London, "Tommy" develops into an impressive and exciting musical with nightmarish moments. 

Frankfurter Neue Presse

The rock opera by The Who, "Tommy", creates a stir at the English Theatre with a new production by Ryan McBryde. The rush for tickets started long before the premiere – and rightly so, as we could see on Saturday!

Journal Frankfurt

Yet it is a fantastic performance that tells the story with a great love of detail. A young, energetic ensemble shines with its powerful voices and shows the precisely composed “musical journey” in an inventive and modern manner within its historical framework and with breathtaking speed. The fighter pilots’ “ballet” on wire sticks is amusing, the Christmassy illumination with colourful lights is beautiful, the suggested abuse of Tommy at the hands of Uncle Ernie and his images on a fetish turntable (the converted Christmas dinner table) is haunting, the impulsive dance scenes are invigorating and the costumes are gorgeous.

KULTURFREAK

ENGLISH THEATRE FRANKFURT

The English Theatre Frankfurt isn’t heading into the new season with a classic drama, but with a comedy. And what a comedy it is! For Ryan McBryde, Associate Director at the English Theatre Frankfurt, producing this play has been a cherished dream for quite some time and he has mastered the task of bringing Barnes’ bizarre story to the stage brilliantly.

Offenbach-Post

The fireplace becomes a crematorium, the salon a psychiatric ward, and the desk turns into a wedding cake. Even if you do not understand every sentence in the ambitious English text, the joke unfolds with a force that sweeps across language barriers. Even at three hours in length, you can hardly get enough of this scabrous Upper Class.

Darmstädter Echo

The audience is guaranteed an entertaining evening at the theatre, during which much fun is made of the typical British stereotypes. And thanks to the extraordinary quality of Barnes’ play, there’s not just a lot to laugh about, the viewer can also expect to feel a cold shiver run down his or her spine while witnessing moments of true horror on the stage at the English Theatre. 

Kulturfreak

As witty as Oscar Wilde, reminiscent of Brecht regarding theatrical understanding and in the same class as McBryde’s musical “Tommy” in terms of equipment and features, Peter Barnes’ play "The Ruling Class" might just be the most elaborate production ever staged at the English Theatre.  

Journal Frankfurt

Stage Director Ryan McBryde manages to lead his ensemble of 10 through a plot that is highly amusing yet peppered with deeply stirring moments with great ease. The fact that some of his actors appear in multiple roles does not take away from the brilliance of the production.

Frankfurter Neue Presse

The fast pace of the production becomes apparent in the very first scene – the group of flags is quickly transformed into the Earl’s bed. After he has accidentally hanged himself during a sex game, the man is practically pushed through a wall and then the fireplace turns into a crematorium, trees are slid onto stage from the sidelines and a lawn is put down; the salon offers more than you might expect at first glance. In addition to the diverse music in the background, ranging from classic to hip-hop, and the many dance scenes, there are also video projections (for example, the 13th Earl of Gurney’s dead body or flashes of energy similar to those in Star Wars) and in the end, even aliens appear to say hello. Monty Python meets Oscar Wilde.

Frankfurter Allgemeine Zeitung

ENGLISH THEATRE FRANKFURT

McBryde has in recent years, with Hair, Spring Awakening and The Who's Tommy shown his great talent for powerful, sometimes even fierce musical transformations that were never just a vehicle for famous songs, but put the stories and their characters at the centre. It is the same with Sweet Charity, although I would say it is lighter, livelier and more humorous than his previous musicals. 

Frankfurter Allgemeine Zeitung

Sweet Charity is a blast!

Frankfurter Rundschau

Outstanding Ensemble!

Frankfurter Neue Presse

Musical theatre at its best!

Giessen Gazette

A great performance!

MusicalZentrale

Great musical, great voices!

PRINZ

Lively and crazy ... the whole musical is a lucky find!

Hanauer Anzeiger

ENGLISH THEATRE FRANKFURT

Tremendously fresh and powerful, Ryan McBryde’s production of the rock musical “Spring Awakening” has many surprises in store for you. 

Frankfurter Neue Presse

Excellent job.

Frankfurter Rundschau

The production is daring, and it is very good. The audience at the premiere cheered for every act of liberation by the adolescents; almost as if they were still living under the same conditions as in the olden days ... an equally entertaining and profound evening is guaranteed. 

Frankfurter Allgemeine Zeitung

Spring Awakening, the musical adaptation of Frank Wedekind’s teen drama takes Frankfurt by storm

Prinz

The merit for this goes to Ryan McBryde, who is the long-time in-house director at the English Theatre and is fondly remembered for contrasting plays such as ‘The Full Monty’ and ‘The Fox’. All in all, the Frankfurt production of “Spring Awakening” is convincing with its seething energy, touching melancholy and astounding professionalism.

The Musical Magazine Issue 146

Wow, Wow, Wow and Wow! ... with “Spring Awakening”, McBryde takes a particularly gripping approach. From Wendla’s first appearance to the finale, McBryde carefully but determinedly leads you through Wedekind’s dark and tragic play. 

KulturFreak

FINBOROUGH THEATRE

The real "wow" of the week is A Day at the Racists by Anders Lustgarten, a political activist turned breathtakingly confident playwright. Ryan McBryde's production is terrifically fluid, with gripping performances. 

The Independent on Sunday

“The production succeeds not only through the writing, which is provocative, angry, funny and spare, but also through the energised direction of Ryan McBryde and the superb performances from the entire cast, who operate as a tight-knit ensemble and bring to gutsy life characters that are as sympathetic as they are disturbing…A must-see”. Jo Caird, 

WhatsOnStage.com

A Day at the Racists is probably one of the best pieces of political theatre you'll see this year...Another hit at the Finborough Theatre...Simultaneously hilarious and disturbing...Studded with moments of endearing comedy.

Spoonfed

A potent and timely state of the nation play…A triumph - a splendid play that deserves to be seen by as wide an audience as possible.

The Stage

For anyone who regards political theatre as dry and worthy, a trip to see A Day at the Racists should prove a shocking but enthralling eye-opener...the kind of political fantasy that socks you straight between the eyes.

The British Theatre Guide

Timely, controversial and thought-provoking, Anders Lustgarten’s new play is a must-see…It is rare to see a truly engaging piece of political theatre that steers clear of tub-thumping, but this is it…It will be a terrible shame if it doesn’t transfer after its initial run at the Finborough…You’ll kick yourself if you miss it.

The Public Reviews

Anders Lustgarten's A Day at the Racists is the best new political play of recent times.

The Jewish Chronicle

ENGLISH THEATRE FRANKFURT

A nail biting evening of theatre, with three excellent actors who turn in a brilliant presentation of a dense and fascinating game of power, hatred and fear.

Frankfurter Allgemeine 

To come to the point: The Fox is the most impressive production of the English Theatre in the last years.

Main Echo

Brave and successful. The question of who will harm who is excitingly drawn out across the evening.

Frankfurter Neue Presse