Michael Billington

Nearly forty years on, critic Michael Billington wrote that Owners had announced the arrival of a major talent I signally failed to recognise.

Bernard Levin called the play, in a revival of 1978, unendurable. In the ODNB a quarter-century later, Michael Billington called it a rich climax to Pinter's naturalistic writing for the theatre.

Nevertheless, reviews in the daily and Sunday papers were bad (including those of Bernard Levin and, more surprisingly, Michael Billington ).Benedict Nightingale in the New Statesman provided an appreciative notice and called...

English-speaking critics are divided on the play's politics. Margaret Llewellyn-Jones thought it ideologically somewhat questionable in the way that it combines Brechtian distancing techniques with encouragement for the audience to cheer during the wrestling matches,...

Reviewer Michael Billington felt that the plot of Blackbird had a traditional feel—that using a death to precipitate a dispute over physical and emotional ownership was, along with other elements in the play, derivative...

The author said her play was a political event, not just a theatre event. She was proved right. The Court's artistic director said that an apolitical, escapist period in the theatre was ending: People really...

Michael Billington suggested in the ODNB that Pinter's reputation and career might have developed differently had this play been seen by the public at the time of its completion.

Reviewer Michael Billington especially admired the vigour and irony of O'Brien's language.

Michael Billington found the final section reminiscent of Samuel Beckett. He wrote: While initially it seems slight, I find it's grown steadily in the mind since I saw it.

Some reviews (from Michael Billington , for instance) were favourable; others were stinkers, complaining of melodrama and missed opportunity. Since the critics' night followed the Evening Standard theatre awards (a notoriously boozy mid-day occasion),...

In 2018 critic Michael Billington described the play as insightful, honest, and shocking. Its shock was topical: audiences gasped when a character told he can escape deportation by securing his citizenship for fifty pounds bitterly...

Reviewer Michael Billington thought highly of this exciting, provocative play, in which he discerned the same epic reach as in TW 's recent radio adaptation of War and Peace.

Michael Billington wrote that Wine in the Wilderness is about the moral value of personal truth, while Wateris about the commercial value of artistic lies.Kate Kellaway discerned in this play a rage over...

Trevor Nunn , director of Frozen, says that BL picks the most difficult subjects and faces them head-on, and finds that the writing is wonderfully spare and wonderfully poetic. In England Frozen won two...

Michael Billington judged that this play felt like cramming a trunkload of ideas into a tiny case; that being too compressed for its own good made it less successful than the dazzlingLove and Information.