Florian Zeller’s comedy will run in the West End until the 12th September.
WhatsOnStage: “It all makes for a smart piece of summer programming, a fun Parisian romp with an intriguing note of melancholy, particularly in the ambiguity surrounding Dee’s Laurence, whose determination to manage and retain her husband’s guilt has more than a whiff of control and cruelty.”
Time Out: “This cocktail of evasions, delusions and selfishness slips down with delicious ease. Deceit, argues Michel, self-servingly, is essential to love, marriage and civilisation. This is pacy, sophisticated thought-provoking fun – which will probably prompt some intriguing conversations between couples in the bar afterwards.”
The Stage: “Starry casting cannot carry this overly mannered comedy of infidelity and insincerity.”
Broadway World: “Not quite a French farce, not quite a comedy of manners, the play proves too reliant on us not turning away with a “Well, they deserve each other” disdainful remark out of the side of the mouth. Yes, you can admire the smarts of the plotting, the technically perfect stagecraft and the comic timing, but, Gee, it’s hard to love.”
The Guardian: “Stephen Mangan’s charming narcissist Michel hilariously rises and falls like a souffle. As Alice, Sarah Hadland smartly handles the part’s complex concealments and Janie Dee’s Laurence, cool as an examining magistrate, aces the moment when she has to reverse the meaning of a scene with one look. Ardal O’Hanlon makes Paul an enjoyable combination of bluff and tough. Lizzie Clachan’s interlocking set smoothly moves between chic bedrooms, living rooms and locker rooms.”
Theatre & Tonic: “With plenty of laugh-out-loud moments, a touch of second-hand embarrassment and some absolutely fabulous acting, this is a great way to spend an evening.”
British Theatre Guide: “Lindsay Posner’s revival is superlative—well, he did direct it a decade ago at the Menier and Wyndham’s theatres—and you can see and hear the pleasure in revisiting it. After The Father, The Mother, The Son psychological dramas, it is good to see that Florian Zeller can also do lightweight comedy as he plays with our concept of what truth means. Are they all traitors or just trying to live the best life?”
The Arts Desk: “Florian Zeller weaves a clever web of deceit around four Parisians.”
The Reviews Hub: “But while Zeller’s play offers an entertaining 90 minutes of relief, it is not a production that delves as deeply as one feels the playwright’s original work intended to go. And for a comedy about something as important as honesty, that’s a tragedy.”
All That Dazzles: “What starts as a seemingly innocent and, dare I say, by-the-numbers play soon reveals itself to be as deceptive as the characters in The Truth, resulting in a rollercoaster that will have you laughing and putting your head in your hands through second-hand embarrassment in equal measure. Fantastic writing and direction make this an enjoyable watch in any production, but it is the gathering of this exceptional cast of four that takes The Truth to the next level, particularly that of Stephen Mangan’s wildly over-the-top and scene-stealing turn as Michele, literally stealing every scene he is in, which is all of them. A trip to the Apollo Theatre this summer may just be the perfect tonic to escape from the dishonesty that lurks outside. This production is easily a hit, and that’s the truth!”
London Theatre Reviews.co.uk: “The Truth is a smart, polished and thoroughly entertaining evening that allows audiences to forget their own problems and enjoy being caught up in somebody else’s.”
A Young(ish) Perspective: “Overall, The Truth is a clever, entertaining, and thought-provoking comedy. It is both playful and unsettling; a juicy combination that makes for compelling viewing. With strong performances, slick direction and a script full of surprises, it offers an enjoyable evening of theatre that lingers in the mind after the final curtain. It is highly recommended for anyone who enjoys intelligent comedy with a darker edge.”
Theatre Weekly: “By the end, what begins as a polished comedy of infidelity reveals itself to be something far more exacting. The Truth doesn’t ask you to decide who is lying, it leaves you questioning whether there was ever a single version of events to believe in the first place, and whether that even matters.”
London Theatre.co.uk: “But there’s no denying that The Truth has been polished to a glistening sheen. I’d advise audiences to go along for the gorgeously acted ride and save until later any nagging questions that may arise.”
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