Everything about The Graduate was detailed to the nth degree and it was a joy to be in the audience. At times, it was like watching a movie. I think Paper Lantern may have just invented a new art form 'Filmic Theatre' - from sweeping compressed timelines and nuanced close-ups, to self-parodying montages and intimate vignettes. It was perfect. The stylised movement and the off-scene acting was first rate. The conceit of telegraphing moments works a charm. The music is oozing style and subtext, effortlessly weaving its web and elevating the whole experience to a Milos Forman / Thelma Schoonmaker-esque soundscape. Not to mention the obvious plaudits for the focus, dedication and investment of the primary cast members. I don't believe I've seen anyone be better in anything they've done. Ever. They were a revelation. I think theatre very rarely achieves the aim of a narrative unravelling in front of your eyes for the very first time. There's usually something that draws you back to the present, or jolts you out of the moment and makes you aware of your surroundings. Not last night. You've taken a classic, iconic story and managed to tell it as if we've never heard it. You've augmented the already achingly cool. You have brought words on a page so vividly and colourfully to life and we are now different - enriched by these moments. Last night was amazing.

Richard Healey, MD Musical Director.

“A triumph – an indication of how powerful this production was! The design, setting, lighting and a blistering soundtrack set the mood perfectly, and allowed the cast to own the space and grow in character as the story built. Southern Belle Blanche DuBois, bankrupt, a fantasist and liar, a snob and hopelessly damaged, lands like a time bomb on her sister Stella’a New Orleans apartment. Brilliantly and convincingly played by Rosie Beattie, we understand totally why Blanche hides behind images of herself, and her path towards complete breakdown was heartbreakingly played.” “Director Sally Scurrell got right under the text and created astonishing performances”

Paul T Davies Writer, Director and Reviewer, Colchester Chronicle.

An evening spent in the centre of the Vortex is an emotionally charged experience, beautiful and at the time brutal. As one would expect of the play that Noel Coward created and performed in 1924, as a showcase of his playwriting and acting skills, this production is elegant and superbly stylish. Entering the transformed auditorium at the Sir John Mills Theatre, the audience are drawn immediately into the 1920s as the gathered ensemble create the setting for a society house party. Helen Saville (Charlotte Curtis) and Paunceforth Quentin (Darrne Beattie) are house guests of socialite Florence Lancaster for the weekend, and they eloquently provide our initial insights into the world of the upper classes and the artificiality of the social environment in which the story is set. Their witty and cynical repartee is beautifully crisp and clipped. Clara Hibbert, well observed as an irritating opera singer with a fragile ego by Amanda Langley, is cruelly described by 'Pawnie' as .. 'labouring under the illusion that she really matters'. Florence Lancaster (Rosie Beattie) arrives home in a flourish and is a fragile and aging socialite who openly takes young lovers in spite of the presence of her husband in the house. Rosie Beattie sparkles elegantly, flirts coquettishly and takes her nourishment from the attention of her visitors like a butterfly and nectar. Tom wrings every drop of emotion from his character. This is the part that Noel Coward had created for himself, and the challenging mood changes and neurosis written into the part were expressively displayed and masterfully handled, with a maturity way beyond the actors age. Molly Scurrell is magnetic and engaging as Bunty and the couples interplay is sharp, edgy and uncompromising. Issy Always has a consistently strong presence as housekeeper Preston and Jack Shepherd as a handsome Bruce Fairlight completes the highly competent cast. Paper Lantern has created a finely crafted production, with so many surprises, layers, and nuances. Stylised, as you would expect of Cowardesque drama, but with contemporary references enhanced by the highly original treatment of the music. We were treated to slick choreography and rhythmic and visually effective ensemble pieces. A beautiful set and stunning costumes, and evocative lighting design and our visual experience of The Vortex was all encompassing. The performances were all finely tuned, highly professional and tightly rehearsed. Sally Broatch has invested enormous creative capital into this production, and it has really paid dividends. We were left moved and bruised, and the standing ovation was testimony to the high quality of the performances. If you miss the opportunity to see this masterpiece of theatre, you will undoubtedly regret it. If you miss the opportunity to see this masterpiece of theatre you will undoubtedly regret it. Last night was amazing.

Laura Locke Theatre Reviewer.