Neighbourhood Watch has broken the State Theatre Company’s box office record with more than 10,000 people expected to see Miriam Margolyes star in State Theatre’s current production
Miriam Margolyes drives box office led recovery TUESDAY 20 MAY, 2014 State Theatre Company SA's production of Neighbourhood Watch has become the company's highest ever grossing production.
Somewhere in this production, directed by Julian Meyrick, there is an undefinable tension. Or, is it a sense of detachment? After the applause has died down, one is left contemplating what it was that seems odd. It's a puzzle. Not so, however, is the divine Miss Margolyes. A consummate performance. From a memory play, she leaves an imprint never to be forgotten
As the octogenarian neighbour from Hell, Margolyes is magnificent, commanding the stage and giving a master class performance in defining and maintaining character – accent, stance, posture and mannerisms are all perfected, even when transforming into a younger version of herself. She more than proves why she is an international star of stage and screen. Margolyes’ level of excellence is of the standard that, in the not so distant past, one would have flown to London to experience, but we have it right here in our own backyard!
Margolyes is utterly irresistible. Her timing, her stares and glances, her inflection, and her superb delivery of Anna’s comically broken English completely carry the night, and are worth the price of a ticket alone.
Neighbourhood Watch is a bittersweet triumph primarily because Miriam Margolyes fills the stage with a commanding, master-class performance.
THEATRE REVIEW | Miriam Margolyes could charm an audience simply by sitting on stage reading a phone book.
This is a master class in acting that every acting student in Adelaide should be racing to attend. For that matter, any actor could learn a lot from this performance. What great fortune that Margolyes has recently become an Australian citizen, hopefully guaranteeing that we see a lot more of her.
Margoyles is the kind of classically trained performer whose body is their instrument, and the tiny, sproutlike 71-year-old has perfect control of that instrument, moving every part of her body, her face, even her hair, with the same precision she brings to shifting accents and attitudes as she perfectly articulates the language of Dickens
an “enchanting and stunning performance.”