We round up the reviews for Tom Littler’s production, playing until the 11th October.
The Guardian: ***** “Exploring how people use each other up in love and art, this Creditors – the title encapsulating Strindberg’s grim metaphor of relationships as a series of loans to be noted and eventually collected – leaves us in debt to Littler, Brenton and the remarkable cast.”
The Standard: ** “There’s no heat between any of them. Brenton’s script is full of unsayable lines: “You couldn’t grow alone and my stem couldn’t bear the loss of its main branch.” The deadening air of restraint and good taste is fostered by Louie Whitemore’s designs, with muted costumes and misty blue walls that echo Gustaf’s forsaken paintings, and fussily immaculate fin-de-siecle furniture.”
WhatsOnStage: *** “Brenton’s adaptation is punchy and the elegance of Littler’s production is highlighted by the Nordic coastal chic of Louie Whitemore’s set and costumes (lots of blue-and-white accents and beige linen). It’s a privilege to see Dance, Farrell and James at such close quarters, though why we should be particularly engaged by their characters is another matter.”
The Reviews Hub: **** 1/2 “Overall, this version of Creditors is an extraordinary experience on many levels that could only be improved by an interval and a much longer run.”
The Stage: **** “Charles Dance stars in this solid, straightforward take on Strindberg’s study of insecurity and coercive control.”
London Theatre 1: ***** “Creditors is a very disturbing play raising some very uncomfortable issues about power and the human condition. But it’s done with finesse, nuance and a lightness of touch which makes this production an absolute must-see.”
Broadway World: *** “Littler directs with intelligence and a smart pace, but you do wonder what this remarkable casting could have done with better material.”
West End Best Friend: **** “The real joy of the production is the proximity to three such prestigious actors and how they embody these complex period characters, though you do catch occasional stumbles over lines and on press night, a broken earring! It is another hit for the Orange Tree and another feather in Littler’s directorial hat. Next up is Hedda, set in 1948 and inspired by Ibsen’s classic play. The good and the great of Richmond can’t wait.”
Daily Express: **** “If a few opening night nerves were evident, it is still a rare treat to see three terrific actors at close quarters in a beautifully realised production of one of Strindberg’s finest plays. And hats off to the maker of the small sculpture of the reclining nude that delivers an erotic charge that, once revealed, lingers throughout the play. “
Theatre Cat: “These are three bravura performances, and it’s a fascinating short evening for students of the changes in drama and social ideas as the 20th century struggled to dawn. But you do need a stiff drink when you get out.”
While tickets for the production are sold out, you can keep an eye out for returns by visiting: https://orangetreetheatre.co.uk/whats-on/creditors/