Michael Billington

According to Michael Billington , this mesmerizing play . . . starts as a domestic inquisition and opens up to admit the horrors of twentieth-century history. It ends on a note of savage despair.

Antonia Fraser called The Rooma savage, melancholy play which ends in appalling on stage physical violence. None of Pinter's other mature plays do this: he learned to keep the violence either offstage or in...

Michael Billington wrote that Slovo's skillfully edited pieceasks the right questions in a way that is clear, gripping and necessary. He also wrote: It is fascinating. But is it theatre? He then answered his...

Michael Billington found this play richly informative and utterly compelling. But Nadia Latif and Omar El-Kairy (whose own play about the radicalisation of young British Muslims, Homegrown, was banned—unjustly, said Billington) questioned the objectivity...

Beecham called the play a ferocious Geordie drama thick with dialect, diatribe and an unsparing depiction of the brutalities of the industrial north at the turn of the century. Its recent director, Jonathan Miller ...

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.

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),...