London Bubble Reviews

Stan Bolovan and the Stupid Dragon (1977)
‘…an enchanting tale which captivated the young audience’  (Epsom and Ewell Advertiser, 14th July, 1977)
The Golden Samurai
‘…exciting action-packed Oriental fable about Yuki’s quest for a golden sword to save his drought-ridden city…Production is bold, vivid with action sequences played out in a spirit of high adventure.’  (Epsom and Ewell Advertiser, 14th July, 1977)
The Beggars Opera  (1977)
‘…the circus-like arrangement of the Bubble tent lent itself to every kind of audience participation. I particularly liked the natural meanderings of the beggar cast before the show, drawing the audience into the atmosphere. And what an atmosphere – roistering carousels, energetic ‘love-making’, violent fighting… the players lost no opportunity of giving zest to this good old yarn of human frailty.’  (Epsom and Ewell Herald, 28th July, 1977)
Hero of the Gods (1979)
Stuart Milligan powerfully portrayed Heracles, the superhero [who] defied the bounds of mere mortality by clearing the world of evil creatures…Barbara Thom was  wonderful as the fiery Hera and her evil words in a rich lilting voice had the kids squirming in their seats…The fantastic costumes offset  by soft lighting in the Bubble in Hendon Park packed full of  youngsters brought the eccentricities of the ancient Greeks into line with modern times…’  (Adrienne Rosen, Finchley Times, 30th August, 1979)
Happy End (1981)
At Chichester
‘...stunning, warm and inviting production…Projection screen atop a scaffold giving song titles , a bit of running commentary… some droll cartoon projections clearly mounted…while the manic troupe below caught its breath, ran its pace…’ (Evening Argus, Nov 12th,1981)
In London
‘This production proves to be quite the most inventive and sparkling show…Brecht’s communist commitment is indeed scarcely in evidence. The Marxism is more Groucho than Karl. Bob Carlton caught the astringent kaleidoscopic Brechtian style to perfection…’  (Potters Bar Press)
‘The Bubble…has certainly come a long way since 1972. The audience sits round the stage of white café tables…its exactly the kind of relaxed cabaret style Brecht himself recommended. Bob Carlton’s production…is fast, funny and makes different use of animation. My one serious cavil is that those pungent Brecht lyrics often get lost…’   (Michael Billington, The Guardian, May 22nd, 1981)
Rogue’s Progress (1983)
A blend  of comedy and burlesque, the play managed to incorporate some of the moralising so dear to the seventeenth century without labouring the point… the music ranged from raunchy jazz and downright funk to ballad and haunting instrumental…’ (Borhamwood, Elstree, Radllet, Edgware Post, September 8th 1983)
Hell Can Be Heaven (1983)
It told the story of two Elvis fans…who go to hell in search of their hero…imaginative, colourful and entertaining…’  (Borhamwood, Elstree, Radllet, Edgware Post, September 8th 1983)
Duckin’ n’ Divin’  (1984)
‘This drama about the population of a crumbling tower block, has all the charm of a social worker’s report…A worthy theme, possibly, but badly expressed…the characters are depressingly stereotyped and the plot turgid and naïve…’ Tracey Frazer, (The Stage, June 7th, 1984)
The Caucasian Chalk Circle (1984)
‘…as light, bright and easy-going as a bubble …what Bob Eaton’s jovial production…gains in contagious joie-de-vivre it loses unfortunately in depth and poignancy…Bubble’s sheer vitality wins through…if they’re  in your area, don’t miss them.’  (City Limits, June 7th, 1984)
The Cabaret of Dr Caligari (1987)
a unique late night horror spoof…cross between Dante’s Inferno and the Rocky Horror Show…’  (Hayes and Harlington, August 19th, 1987)
The Headless Body (1987)
..colourful style of Victorian melodrama…Behind this musical allegory lies a sombre note of political urgency...‘  (The Voice, June 16th,1987)
Groping For Words (1988)
This play highlights the class divisions which help create [illiteracy] and the subterfuges used [by its victims] to hide their affliction from the world...’  (Hayes and Harlington, February 17th, 1988)
I Fought the Yuppie Zombies from Hell (1988)
…a transcendental whodunit involving a dead-end detective and a conservationist in a fight against world take-0ver by…international business conglomerates…’  (Financial Times, August 1st, 1988)

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