Round-up of the reviews for fiji land

The Stage,

‘a surreal, disquieting interrogation of the idea that innocence breeds contentment.’
‘Director Alice Malin pulls performances of violent conviction from her cast. This is a strange but deeply affecting production that pulls Gill’s … philosophical questions into sharp focus.’


Daily Info, Oxford,

‘If you’re lucky then, once or twice, you might see a production which knocks your socks off. This is one of those.’
‘Max Pappenheim’s eerie industrial soundtrack startles and disturbs. ‘
‘a searing production’
The trio of soldiers are superb…. The power of their dramatic characterisations held the audience spellbound.’
‘It’s a tribute to this outstanding production, that when I saw the supposedly supervising soldier strike a long stemmed match and hold it beneath a defenceless leaf, I winced for the pot plant.’
The Oxford Times, ****

‘a bravura performance from Stephen Bisland’
‘Not for the faint hearted, but essential to anyone who wants to consider what crimes may be being committed in the name of ‘security’, this original play was well realised by the cast, director Alice Malin and designer Ruth Hall.’

Andrew Haydon, Postcards from the Gods,
Nick Gill’s Fiji Land is brilliant. It’s certainly the first play I’ve seen in Britain in an absolute age that I didn’t fully understand. And I love that. It’s a play that has an almost luminous metaphoric quality, but which keeps you working incredibly hard on what those metaphors are, and what we are meant to be doing with them. I should also add that Alice Malin’s production – and Ruth Hall’s design for it – are the best I’ve seen on the Fringe in a very long time.’
‘It’s the first play I’ve come out of since Landscape II that left me absolutely reeling and spaced-out: totally thrilled and completely unable to process all the information.’
‘The three actors are … notably excellent. There’s a real assurance and polish to the whole thing, topped off by Ruth Hall’s beautifully detailed set, Tom Wickens’s excellent lighting and Max Pappenheim’s really intricate sound design.’

Exeunt Magazine, ****

‘There’s a fascinating tension at the heart of the play’s close-palmed absurdism – a creative navigation of the real-life events that brought it into being.’
‘…a richly imaginative, darkly witty and at times unsettling experience.’
There Ought to Be Clowns,

‘Alice Malin’s production deals well with the unfolding absurdist nightmare.’
Cherwell Student Newspaper, ****
‘an intense, thought-provoking production’
Time Out,
‘director Alice Malin draws strong performances – simultaneously macho and jovial – all round, from Jake Ferretti, Stephen Bisland and Matthew Trevannion, while Max Pappenheim’s head-fucky soundscape is absolutely first-rate.’
The Guardian,
‘…the suppressed nervous energy of the writing is fully exploited by actors Jake Ferretti, Stephen Bisland and Matthew Trevannion.’
Partially Obstructed View, blog
‘Gill’s metaphor of plants as prisoners of war being tortured is a simple but strangely effective conceit, the captors reducing their captives to something that’s alive but not human.
‘…as a piece of intense, sometimes gruesome absurdist theatre, Malin’s production has a hypnotic power, anchored by Ferretti’s central performance.’


About threestreetsproductions

At Three Streets Productions, we're passionate about new writing. We’re dedicated to working in collaboration with writers to nurture and develop unique, fresh and exciting theatre. We are excited by plays that push language in unexpected directions. We like plays that ask questions about the world in which we live. We also run workshops, scratch nights and rehearsed readings – watch this space for more details. If you’re a writer and you’d like to get involved, we’d love to hear from you. Recent productions include Freefall: A Double Bill (New Wimbledon Studio), The Ones Who Kill Shooting Stars (White Bear Theatre) and The Bird Trap (Lost Theatre).
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