MIDSUMMER [A Play With Songs]

Co-produced by the Mercury and Barn Theatres

Cast

Will Arundell

Ross Carswell

Laura Andresen Guimarães

Karen Young

Production

Writer - David Greig

Composer - Gordon McIntyre

Director - Ryan McBryde

Set & Costume - Libby Todd

MD - Paul Herbert

Lighting - Rory Beaton

Sound - Mark Melville

Movement Director - Chihiro Kawasaki

Casting Director - Natalie Gallacher

Assistant Director - Chani Merrell

DSM - Lucy Quinton

LX Programmer & Associate - Steven Settle

Production Manager - Jeremy Naunton

Technical Manager - Luke McCann

Sound Team - Wesley Laing Sound and Sam Copus

Associate MD - Ben Barrow

Made by the Mercury in partnership with the Barn Theatre Cirencester

Photography - Pamela Raith

"David Greig’s louchely beautiful rom-com where drifting midlife disappointments come together and solidify into love. A lost weekend worth finding."

Daily Mail (Critics Pick Of The Week) ★★★★

"Director Ryan McBryde gives full rein to inventiveness, and the production is perfectly paced, and unashamedly romantic. A gorgeous, unmissable production."

British Theatre Guide ★★★★★

Midsummer boasts an intelligent fast-paced script, which is lifted by incredible acting, set-design, and live-music. Part of the reason why it felt so fresh, despite clearly being a love story about two lost souls finding each other, was its attention to detail and structure. HILARIOUS, incredible, and different!"

Colchester Gazette ★★★★★

"McBryde's energetic and inventive direction never falters ... the production thrives in its whimsical setting .. as much a love letter to Edinburgh as love itself."

The Stage ★★★★

"High energy, fast-paced and extremely funny - The director Ryan McBryde has really risen to the challenge with this modern take on a rom-com. The script is witty, clever, sexy, vulgar and also has pathos.  The packed audience of mainly young people loved it."

Southend Theatre Scene ★★★★

"I am confidently crossing my fingers that this terrific production, directed by Ryan McBryde, with its music by Gordon McIntyre and brilliantly versatile set designed by Libby Todd, goes from Cirencester to the country and the world. It richly deserves a huge following. I can’t urge you enough to go and see it."

The Fine Times Recorder ★★★★★

"A good last show for the AD , Ryan McBride, as he leaves this lovely theatre for the freelance world, after five very good years."

Theatre Cat ★★★★

"A wonderful piece of theatre.  We really didn’t know what to expect with this production, but we found it charming, funny and uplifting. If you haven’t got a ticket then I strongly recommend you get one before it closes."

TheatreLife

"None of the show’s considerable charm has been lost, its ribald sense of humour still intact (Slough and Belgium still get it in the neck, Bob’s talking cock remains a high point) and I fell in love with it all over again."

There Ought To Be Clowns

MERCURY THEATRE

Company

Bessy Ewa 

Jim Fish 

Gareth Kennerley

Sam Lupton

Emily Pollet

Stanton Wright

Creatives

Adapter - Gale Childs Daly

Director - Ryan McBryde

Designer - Libby Todd

Sound Designer/Composer - Stefan Janik

Movement Director - Chihiro Kawasaki

Casting - Natalie Gallacher

Assistant Director - Emmy Briggs

📸 by @peachyraith & @XavMars

Ryan McBryde’s creative direction ensures that it's a fast-paced, engaging and visually impressive production that stays true to the original story while capturing the imagination, and it’s great to see Dickens’ work appealing to new audiences. A creative and captivating take on the classic story, with strong performances from the cast.

WhatsOnStage ★★★★

Condensing the huge novel into a brisk two hours, it is inventively and energetically directed by Ryan McBryde. Your expectations will be met!

BritishTheatre.com ★★★★

This production helmed by the Mercury’s creative director Ryan McBryde, remains faithful to the original novel and adds a touch of theatrical flair that no doubt Dickens himself would approve of. McBryde’s imaginative direction charges through the story by way of a mixture of physical theatre and Dickensian dialogue, reminding us of both the power and the prescience of Dickens’ writing.

The Stage ★★★

Mercury Theatre Colchester

Company

Joe Alessi

Laura Doddington

Tesni Kujore

Marc Pickering

Jack Shalloo

and

the Amazing Mercury Choir

Creative Team

Writers - Dario Fo & Franke Rame

Adaptation - Deborah McAndrew

Director - Ryan McBryde

Design - Zoe Hurwitz

Lighting - Robbie Butler

Sound - Mark Melville

Casting - Ellie Collyer-Bristow

Assistant Director - Emmy Briggs

Choir Director - Neil Somerville

Additional Composition - Paul Herbert

Thanks to the amazing Mercury Production Team for making the magic happen behind the scenes.

📷 Pamela Raith

“Ryan McBryde’s gloriously frenetic staging beds itself firmly into all the farcical elements of the Fo/Rame original He focuses on the comedy, and the production is hugely entertaining, with many laugh-out-loud moments … McBryde tops his production with a glorious a coup de théâtre, reminding us that mass protest should be not just a privilege but a right within any democracy.

The Stage ★★★★★

“If you want to spend a night laughing hilariously at a thought provoking play, then go to the Mercury Theatre, Colchester. This fast-paced farce always lets the audience in on the joke. When the political references were made the audience cheered and clapped particularly the ones re. party gate, the sit down protestors and even the Met police, which was even more topical. All the political points are well scored by laughter and jokes and not by lecturing, and the audience loved it. It is the most interesting and entertaining piece of theatre I have seen for a long time.”

Southend Theatre Scene ★★★★★

“What is seriously clever about this play, whereas it is full of laughter and hilarious moments, one liners, jokes, subtle quips, the political satire is off the charts – and which generates the most laughter. The conversation the characters have about the politics and their representation of the lowest income earners are exactly what we are all thinking. The farce is not on the stage – it is in the cabinet. The dialogue is witty, sharp, sarcastic, clever and very real. These conversations are going on in homes – we are all talking about why people are freezing while the energy companies are making billions in profit. This was laugh a minute show while dealing with a very serious issue we have right now.”

Grapevine Live ★★★★★

“This show was brilliant, an outrageously funny, laugh out loud production delivering a powerful message about the cost of living crisis. It was complete chaos and utterly brilliant. Expect to be entertained and your cheeks to hurt from laughing!”

Little Miss Eden Rose ★★★★★

Adapted by Deborah McAndrew it brings a witty view on Post Brexit Britain with a modern farce that also delivers a punch. Ryan McBride clearly found all the relevant light and shade in this piece which allows contemplative thought and well as lots of giggles. Once again, the Mercury has excelled at giving us a high-quality production, which I sure many will enjoy.

Theatre.Life ★★★★

I cannot think of higher praise than this: I plan on coming back to watch this show again. Get your tickets whilst you can! You don’t want to miss out on this!

The VI Critic ★★★★★

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

Mercury Theatre Colchester

Cast

Amy Bennett

Danielle Bird

Nichole Bird

Dan Burke

Jess Dives

Rosalind Ford

Lucie Henderson

Lucy Keirl

Michael Lambourne

Sophie Parton

Mike Slader

Aaliyah Zhane

Creatives

Director - Ryan Mcbryde

Set and Costume Design - James Button

Lighting Design - Ben Cracknell

Sound Design - Ella Wahlström

Musical Director - Jess Dives

Movement Director - Michela Meazza

Fight Director - Haruka Kuroda

Casting Director - Marc Frankum

Assistant Director - Mike Cottrell

Thanks to the amazing Mercury Production Team for making the magic happen behind the scenes.

📷 Pamela Raith

“The acclaimed Essex venue – which is celebrating its golden jubilee this year – has put on an all-singing, all-dancing production of Shakespeare’s The Comedy of Errors that feels like being invited to the glitziest party in town. It’s joyous and buoyant, and true to the spirit of Shakespeare – director Ryan McBryde has done a brilliant job making the show as accessible as possible. A remarkable achievement.”

The Stage ★★★★

“This is the production to take young people to as a first Shakespeare it is perfect for the family! The standing ovation at the end was the tribute to our wonderful theatre we were happy to give. Go see, it’s triumphant.”

British Theatre ★★★★★

“It is difficult to write a review for a production so good and so perfectly tuned in every aspect … This production is wonderful from the set to the music, the cast and the superb direction.”


Curtain Call

THEATER TRIER

ENSEMBLE

Anna Pircher

Barbara Ullman 

Benjamin Schardt 

D. Giovanni Rupp

Gideon Rapp

Manfred Hanig 

Martin Geisen 

Michael Hiller

Michael Nix

Norman Stehr

Paul Behrens 

Robin Jentys

Stephanie Theiß

CREATIVES

Direction Ryan McBryde

Design James Button

Lighting Ben Cracknell 

Assistant Director Agnes Otto

Assistant Director Philip Voigtländer

Dramaturgie Philipp Matthias Müller

A stroke of genius ... from the beginning there is the anxious certainty that the love of Romeo and Juliet is inextricably linked with death. Strong, effective and haunting images permeate the entire piece and, especially in the second half, provide unbeatable drama. A very successful and fascinating staging that is rewarded with long-lasting applause and ovation.

TRIER REPORTER

Ryan McBryde tells the last five days of Romeo and Juliet at the Theater Trier. He transforms the teenage tragedy, supported by stage and costume designer James Button and light designer Ben Cracknell, into a dynamic, furious, spectacular, very modern, decidedly British theater evening. Standing ovations for the whole team and a lot of applause for the young Brit.

VOLKSFREUNDS

McBryde presents an original vision of the events in Verona. A brilliant, unique version.

LETZEBUEGER JOURNAL

MERCURY THEATRE, COLCHESTER

CAST

Eva-Jane Willis

Bill Champion

Mark Peachey

Annie Wensak

Alan Vicary

Victoria Hamnett

Dan Bottomley

Hanna Khogali

Peter Manchester

CREATIVE TEAM

Writer - Nick Perry

Director - Ryan McBryde

Musical Director - Paul Herbert

Designer - Gabriella Slade

Lighting Designer - David W Kidd

Movement Director - Natasha Harrison

Sound Designer - Tom Marshall

Casting Director - Marc Frankum CDG

Associate Lighting Designer - Kiaran-Lee Kesby

Associate Sound Designer - Daniel Higgott

Director Ryan McBryde scored a huge hit at the Mercury this year with the new British musical Pieces of String. His immense skills as a director are again on show here, creating a fast moving, lively  version of Daniel Defoe’s classic novel, given an “unfaithful” adaptation by Nick Perry … the company work so well together that the evening flies by and this is an enjoyable romp, that will no doubt become a major audience pleaser. It’s well worth taking the epic journey with this Moll, and hats off to the Mercury for another piece of bold programming.

BRITISHTHEATRE.COM

Ryan McBryde keeps things flying along with a directing style that lies somewhere between farce, pantomime and cabaret. It's a theatrical mash-up that works very nicely and is echoed by the contemporary language utilised by Perry's genre-smashing dialogue. Moll Flanders was a good time girl and this 21st century re-invention of her story is dazzling. Huge congratulations to a highly talented ensemble cast for this exciting musical make-over.

THE EXPRESS

What an absolute find director Ryan McBryde is. Earlier this year he absolutely tugged at our heart strings with the gorgeous new musical Pieces of String, and now he’s taken our gal Moll, originally from Colchester, and produced a breathtaking bawdy romp through 18th century England, with more than a little theatrical nod to modern times. Great storytelling, a wonderful cast and a spectacle for eyes, ears and your soul.

THE GAZETTE

A rich, ribald retelling of this astonishing tale. Director Ryan McBryde has done a tremendous job in creating an atmospheric, engaging, hugely watchable show, with a dazzling leading lady. Another sensational production in the Mercury Theatre’s Made In Colchester season.

STAGE REVIEW

This is a comical take, directed by Ryan McBryde with plenty of humour and audience interaction but is quick to switch to more emotional scenes when necessary. A hugely energetic and fun production, an impressively small cast is excellent in its telling of this large-scale story.

MUSICAL THEATRE REVIEW

A fun, music-filled staging … Ryan McBryde’s energetic and comedic production, buoyed up by foot-tapping pop and blues songs performed live.

THE STAGE

There is so much happening before your eyes, and yet none of it is unnecessary. Director Ryan McBryde has done a sensational job of pulling together such a stylish and dynamic production that is also streamlined and packed full of humour and emotional connection. I was saddened to hear this production was to come down in less than two short weeks. It deserves a tour, an extension or a transfer, anything to keep this beautiful creation going and to be seen by as many as possible.

VIEW FROM THE CHEAP SEATS

From the same Director and Musical Director as ‘Pieces of String’, this show was fascinating, fun and full of so many different styles of music and it took modern references into a time past. I loved it! In fact, I am struggling to put into words how much we enjoyed tonight’s production. I strongly recommend that if you have the opportunity to see this show before it closes – you go! It was a great evening’s entertainment and I challenge anyone who sees it not to enjoy it from start to finish.

THEATRE LIFE

This Made In Colchester production is the latest to prove, if prove we’re needed, that not all the nation’s theatrical talents lies in the West End. Regional theatre is alive and flourishing in Essex.

GRAPEVINE

Mercury Theatre, Colchester

Writer and Composer - Gus Gowland 

Directed by Ryan McBryde

Musical Direction and Orchestration - Paul Herbert

Movement Direction - Ellen Kane

Lighting Design - Ben Cracknell

Sound Design - Chris Bogg

Casting Director - Marc Frankum

Photography by Robert Workman

CAST

Andy Coxon

Marilyn Cutts

Ella Dunlop

Lauren Hall

Joel Harper-Jackson

Craig Matherr

Carol Starks

Gary Wood

Produced by Mercury Theatre and The Booking Office

Developed by Perfect Pitch Musicals  

A seriously impressive and utterly lovely new British musical. Gowland’s intricate interweaving of these two stories, one set in the present, the other in the 1940s, is rendered with immense clarity in director Ryan McBryde’s polished, moving production.

THE STAGE

The piece is magnificently directed by Ryan McBryde, who plays the scenes from past and present side by side so confidently that there is no confusion as to time and location, and when gestures and movements echo down the decades it is beautifully moving. The company, and the theatre, have poured their heart and soul into this musical, and the standing ovations are a worthy reward.

BRITISH THEATRE.COM

As well as the ridiculously talented Gus Gowland, much praise must be heaped on director Ryan McBryde, who brings some lovely touches to the piece and is thankfully back later in the year with his take on the original Essex Girl, Daniel Defoe's Moll Flanders.

COLCHESTER GAZETTE

Pieces of String is both a great love story as well as one full of heartbreak and loss … a truly brilliant and moving show.

MUSICAL THEATRE REVIEW

A poignant, beautiful and stunning piece of theatre. I am struggling to find enough superlatives to describe this outstanding show – you simply have to see it to appreciate this truly exquisite piece of theatre. I sincerely hope this is the beginning of a fantastic journey for this musical which will allow many more to experience it. Director, Ryan McBryde explored all the levels of the storyline giving us glimpses of life which we can all relate to along with the discovery of secrets so many people keep, which can gnaw away inside you.

THEATRE LIFE

Not since last years Strangers In Between have I been this excited, and moved, by a piece of modern theatre… and even longer for a musical to push so many emotional buttons. Not only is Pieces Of String a slice of this genre at it’s absolute finest but with a love story at it’s centre, the ramifications of which are sent reverberating down the generations, this is also a deeply emotional journey written and composed by Gus Gowland, directed by Ryan McBryde and played to perfection by an incredibly talented cast.

JACK THE LAD MAGAZINE

Pieces of String is almost perfect, and I would thoroughly recommend catching it if you can. The performance I attended received a standing ovation which is understandable due to the great work of cast and production team.

SPY IN THE STALLS

Issues of sexual acceptance are examined with great skill and flair by director Ryan McBryde who has such a controlled grasp of the material, the inevitable happens, and there is not a dry eye in the house. An incredible night of class where a secret love is revealed in the most romantic way. Go see Pieces of String and discover for yourself a formidable and magical musical experience. Theatrical excellence worthy of a West End transfer.

BOYZ MAGAZINE

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

Mercury Theatre

Cast

Richard Ede

Naomi Petersen

Marc Pickering

Eric Stroud

Phil Yarrow

Creative Team

Writer - Ken Ludwig

Director - Ryan McBryde

Designer - Amy Jane Cook

Lighting Designer - Johanna Town

Sound Designer - Steve Mayo

Video - Designer - Louise Rhoades Brown

Casting Director - Marc Frankum

and made with love by the amazing Mercury Team

Photos: Pamela Raith

Baskerville boasts everything you could wish to see in a murder mystery comedy. It's fast-paced, laugh-out-loud, wholesome family-friendly fun. The perfect show to reopen the Mercury Theatre following their refurbishment, I believe the adventures aren't over yet for this production as it will no doubt continue to delight audiences.

What’s On Stage ★★★★

Ken Ludvig’s zany, affectionate spoof of the Sherlock Holmes classic is two hours of inspired silliness, and here it is performed by a cast of comic timing genius. It’s the perfect choice to welcome audiences back after the tough times, and Ryan McBryde’s inspired direction rings every comic beat and turn from the script and cast, it’s a joy from beginning to end.

British Theatre ★★★★

A jokey five-actor show in the tradition of the  Reduced-Shakespeare-Company or National Theatre of Brent … Seasoned Vaudeville jokes abound: fake wind,  running-on-the spot, an upright bed, talking portraits and at one point the traditional profile gag.

The Times ★★★★

MERCURY PRODUCTIONS

in association with Colchester Operatic Society

CAST

Archie Ball

Joss-Paul

Leanne Field

Adam Woodhouse

Wayne Setford

Paisley Pascal

Charlie Borg

David Chilton

Sally Fisher

Andrew Hodgson

Sophie Knights

Olly Medlicott

Amanda Powell

Sarah White

Stuart Williams

Sarah Young

FAGIN'S GANG

Eva Balding, Esme Ball, Alec D’Arcy Jones, Lilly Dickie, Seb Eiden, Samuel Finan, Megan Fox, Millie Hack, Maddison Hawes, Dexter Inman, Albie Keeble, Nicholas McKeown, Toby Nee, Liv Newcomb, Sophie Parton, Connor Sweetman & Oliver Toms.

COMPANY

Fiona Bocking, Maeve Borges, Abi Bower, Kate Cavill, Rebecca Clemens, Katie Cutmore, Carys Farndon, Celia Greaves, Claudia Haswell, Rebecka Larsson, Becki Lee, Sarah Lloyd, Lisa-Marie Milne, Claire Morris, Alanah Penwill, Sam Pilkington, Lisa Pordham, Koralia Salacuri, Adam Specter, Emma Theedom and Millie Watson.

CREATIVES

Director - Ryan McBryde

Choreographer and Assistant Director - Charlie Morgan

Musical Director - Greg Arrowsmith Assistant

Musical Director - Neil Somerville

Design - David Shields

Lighting Design - Tim Deiling

Sound Design - Christopher Bogg

Photography - Pam Raith

SALISBURY PLAYHOUSE

By P G Wodehouse

Adapted by Jon Glover and Edward Taylor 

Director - Ryan McBryde

Designer - James Button

Lighting Designer - Ben Cracknell

Musical Supervisor - Paul Herbert

Sound Designer - Michael Scott

Assistant Director - Alice Wordsworth 

CAST

Jenna Boyd​

Michael Fenton Stephens 

Tim Frances​

Tiffany Graves​

Adam Jackson Smith 

David Shelley

Rob Mellor-Witcomb​

Love On The Links adapts some of the golfing yarns of comic novelist Wodehouse and delivers them with inventive multi-tasking by a cast of seven … a cheerfully dotty evening to delight the Pringle knits and plus-two’s brigade. Golf, love and Wodehouse are done proud.

DAILY MAIL

Director Ryan McBryde hits just the right balance of sporting fun and romantic farce, with a cast who are up for every strange noise, bird song or physical action required by the stories. We need a little light in these dark, frightening times and Love on the Links is a delight, a summery confection of laughter and silliness, warm-hearted, generous and charming. Just the ticket, as the Oldest Member would probably say.

VALLEY NEWS

LOVE on the Links is a loveable romp … packed full of fun and laughter. The dialogue is sharp and witty and had me in stitches throughout. The performances were superb and well directed by Ryan McBryde.

SALISBURY JOURNAL

The Golf Club barman Fitt is wonderful not only as the wise confidante, but also as the resident pianist creating atmosphere in the musical numbers and also convincing sound effects as golf balls fly through the air. The stage sofa becomes an additional character with its various and creative uses. It’s all spiffing fun.

DAILY ECHO

And that is the strength of the piece: charm, cleverness, diction and the joy of language delivery. The direction by Ryan McBryde is flawless with every single prop item and cast member movement being used to great effect: the restaurant scene and snow depiction being particular delightful. This play is perfect for Salisbury Playhouse. It has class, heart and elegance … a couple of hours of crisp hole in one story telling.

SCENE ONE PLUS 

There are many moments to cherish, from the fast-growing crocodile through the faux-African language of the arch-explorer and the twinkling eyes of a love-struck maiden to the dastardly deeds of a  scheming poet … and many more. It’s not quite as frantic as the “plays that go wrong”, but no less inventive, both verbally and physically. It’s a perfect summer play, so grasp the chance of seeing it.

THE FINE TIMES RECORDER

An increasingly frenetic pace ensures great entertainment. The hilarious adaptation of a huge sofa (which even simulates a boat), and clever use of assorted pot plants, a ceiling light, balustrades and bar, all adds to the fun. A crowning glory is the arrival, outside the clubhouse, of a period MG.

GAZETTE AND HERALD 

Photographs by Robert Workman

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

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)

FINBOROUGH THEATRE

Cast

ZARAAH ABRAHAMS
VANESSA HAVELL
NICK HOLDER
THUSITHA JAYASUNDERA
JULIAN LITTMAN
GWILYM LLOYD
TREVOR A TOUSSAINT

Writer

ANDERS LUSTGARTEN

Director
RYAN McBRYDE

Design
MILA SANDERS

Lighting
DAN HILL

Sound
GEORGE DENNIS

Produced by Charlie Payne for Rogue State Theatre Company in association with Neil McPherson for the 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”.  

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

“This play, which represents a major contribution to the debate about multiculturalism, is yet another success for the Finborough, and deserves a sell-out run. 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

“Superbly acted and paced under Ryan McBryde's direction, Lustgarten's play brilliantly makes you feel empathy for a cause you hate. A Day at the Racists is the best new political play of recent times.”

The Jewish Chronicle

“As a General Election looms, this tiny little theatre comes up trumps yet again with a large cast and a big subject in Anders Lustgarten’s extremely well acted and topical new play. Director Ryan McBryde’s fluid production demands attention.”

TNT

“This telling and moving new drama is that very rare thing, a thesis-driven political play whose debate is intellectually stimulating and engrossing while its characters are real, rounded and believable…A Day at the Racists deserves a longer life than its month at this tiny Earls Court pub theatre. But just in case it doesn't get it, I encourage you to rush to the Finborough to see it.”

TheatreGuide.London

“The acting in Ryan McBryde’s production is astoundingly good”

The Times

“Powerful, urgent, contemporary stuff…If there is any justice, then A Day at the Racists will get a transfer…and run right up until polling day.”

There Ought To Be Clowns

“Ryan McBryde directs a sassy production with eight sparky actors.”

Evening Standard

“Ryan McBryde directs an excellent cast…with real dynamism, and the stage is alive with ideas and debate.”

Time Out

“ … a mirror on the world today. Extremely relevant, with a concerted effort to mesh the performance with the education, Rogue State ends up producing hard-hitting and thought-provoking theatre.”

Extra! Extra!

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

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

QUEENS THEATRE HORNCHURCH

There is some stunningly inventive stagecraft and, yes, we do see him disappear before our incredulous eyes. Some of the simplest ideas are the most effective – running across the stage with lanterns, the bowler hat right at the end. Lily Arnold’s set is a masterpiece, constructed largely of cabinets, suggesting the laboratory, with two levels, gas-lamps and multiple doorways.

REVIEWS HUB 

This is an absolutely stunning production. I have rarely (if ever) seen a production anywhere else that has put more effort into it’s staging. 

PHOENIX FM

McBryde's production is lively, with John Bulleid's illusions aided by Nic Farman's splendid lighting .. a superb physical performance, eerie as anything. 

WHATSONSTAGE

The show is a visual spectacular, with all kinds of magic tricks giving the appearance of an invisible man on the stage. The whole night was extremely enjoyable and I would recommend going to see this classic story of man and monster.

HORNCHURCH LIFE

Entertainingly staged Ryan McBryde’s production has a certain ghoulish, gaslight charm, assisted by Lily Arnold’s richly decorated, rolling-stock set.

THE STAGE

The Invisible Man is loaded tricks and illusions to create the effect of him disappearing. The spooktacular is a real visual spectacular creating the appearance of the invisible man. The stage is host to many illusions and effects including things moving without human touch, in fact the show was full of magical moments.

BEDROCK RADIO

Writer - Clem Garrity

Director - Ryan McBryde

Designer - Lily Arnold 

Lighting - Nic Farman 

Movement - Ellen Kane

Fight Direction - Bethan Clark 

Illusion - John Bulleid

Casting - Matthew Dewsbury 

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