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Communicating Doors (2017)

A frenetically funny cross between 'Back to the Future' and 'Psycho' with the most memorable balcony scene since 'Romeo & Juliet'

Jun 24th to Jul 1st 2017

Written by Alan Ayckbourn

Directed by John Ruscoe

A frenetically funny cross between 'Back to the Future' and 'Psycho' with the most memorable balcony scene since 'Romeo & Juliet'

A dazzling comedy thriller directed by John Ruscoe, this play cleverly combines elements of farce, psycho-drama and sex-comedies. Always on the lookout for a fresh challenge, John chose this play because he was intrigued by its highly unusual plot which revolves around a murder mystery and the possibility of time travel. The notion of being able to travel through time to create an alternative future by changing the past has been the starting point for many exciting science fiction dramas. In this ingenious play, the prolific and ever-inventive playwright Alan Ayckbourn concocts his own unique recipe by combining comedic flair and a talent for crime thriller with just a pinch of psycho-drama thrown in for good measure. If all this sounds a heady mix, it is. But have no fear: this suspense-filled and entertaining piece is guaranteed to hold your attention and keep you guessing right until the final moments.


Press comment:  


"Dazzlingly ingenious . . . . it's 'Back to the Future' with sex and violence" The Guardian. 


"A time - travelling thriller"  . . . " a nerve-jangling cocktail that combines elements of 'Rear Window', 'No Sex Please We're British' and 'Doctor Who' " The Daily Telegraph 


"Comic gold" The Stage 




"Alan Ayckbourn has long been the master of the dark farce...."


"...not the easiest of Ayckbourn's many plays. But the Criterion rises to the challenge, as usual...."


"Karen Evans as Reece’s first wife Jessica and Cathryn Bowler as her replacement, Ruella, gleefully throw themselves into a balcony scene that triumphantly transforms tragedy into farce.   As the darkness recedes, laughter levels surge."


"Neil Vallance plays Julian with a world-weariness undercut by a menacing vindictiveness.   And Georgia Kelly touchingly captures not only Poopay’s vulnerability but also her instinct for survival against the odds."   


For the full article, click on 'The Review' at the top of this page above the production photographs.