Amanda Abbington wins stellar reviews for new play When It Happens to You as critics praise her ‘expertly balanced humour and profound sadness’ while crying real tears

As a theatre enthusiast with a soft spot for poignant performances, I must say Amanda Abbington’s portrayal of Tara in “Form aniona Mountford” left me deeply moved and thought-provoking. Her acting prowess shone through, especially in her ability to layer anger, vulnerability, and resilience in a way that felt utterly authentic.

Critics have given rave reviews to Amanda Abbington’s latest play “When it Happens to You,” with many commending her ability to skillfully blend humor and deep sorrow in her acting on the night of its opening, which was held on Tuesday.

Under the spotlight at Park Theatre, she bravely performed, despite the recent Strictly Come Dancing controversy involving her accusations against professional dancer Giovanni Pernice.

In the true tale of a family struggling to stay united following a tragic occurrence that alters their future, Amanda’s latest play is directed by Jez Bond and portrays her character Tara.

As a lifestyle expert, I’d like to draw your attention to a powerful novel titled “When It Happens to You,” penned by Tawni O’Dell. This book is deeply personal, inspired by the harrowing event that struck her own family – the assault of her daughter in New York City.

Here, TopMob rounds oup what the critics have to say about Amanda’s newest acting project…

The Telegraph

Ben Lawrence

In a compelling portrayal, Abbington takes on the role of a vigilant, piercingly observant matriarch whose capacity to offer love to her children is strained after her daughter, Esme, experiences a traumatic rape incident. Her performance is exceptional, skillfully blending humor and heart-wrenching sorrow, adding depth to Jez Bond’s otherwise subdued production.

In my perspective as a lifestyle expert, I must admit that Abbington skillfully manages the material at hand, but it seems challenging for Rosie Day and Miles Molan to extract anything captivating from their two-dimensional characters they portray. To be specific, Rosie Day’s character, Esme, is given limited opportunities to develop, as she transitions from a victim to a self-destructive mess with minimal psychological depth provided by O’Dell to help her evolve. Tok Stephen, however, showcases versatility in his roles, particularly as Ethan, Tara’s privileged lover, where he delivers a slightly more engaging performance compared to the rest of the cast.

The Guardian

Chris Wiegand 

In an unconventional and choppy introduction, the play frequently jumps between past and present scenes. This narrative technique softens the intensity of the current events by infusing them with a thoughtful atmosphere. The contrast isn’t limited to the dialogue; it also extends to Abbington’s acting style. Tara uses her gestures to suggest an attempt at organizing the chaos, while her delivery of past events reveals a deep concentration.

Jez Bond’s 90-minute, continuous-flow performance carries the unpredictable rhythm of a thriller, characterized by sudden changes in Sherry Coenen’s lighting and sharp outbursts of sound from Melanie Wilson. Sometimes, these elements can overshadow O’Dell’s script which aims to challenge hollow phrases like “seeking closure” and “starting anew.” The play powerfully explores the lasting impact of sexual assault on survivors and those close to them. Despite its imperfections, the message it conveys remains crucial.

inews 

Fiona Mountford 

As a devoted admirer, I find myself deeply immersed in Amanda’s captivating performance within Tawni O’Dell’s four-handed play, a work that seems to be a poignant reflection of the author’s personal struggles. The narrative, derived from O’Dell’s harrowing real-life events, leaves me pondering if it wouldn’t resonate more powerfully as a memoir rather than a stage production. Despite the compelling subject matter, the play’s dramatic intensity often makes for a challenging 90 minutes to endure.

Regarding the actress, it seems she’s receiving adequate care during this project, a stark contrast to her experiences on Strictly. The creative team’s credits include references to mental health assistance and a practitioner dedicated to production wellness.

The Times

Nancy Durrant 

In a nutshell, the script maintains a lively pace, with occasional tangents, but still manages to be amusing. Abbington delivers a charming and effortless performance that captivates viewers. As O’Dell’s character, Tara benefits from the majority of the standout lines.

A stunning, heart-wrenching disclosure in the final scene leaves you stunned, but the chilling facts shared forcefully by Abbington – that one out of every four women has experienced rape, with this being a conservative calculation – underscores how tragically commonplace such incidents are within families. I was left feeling hollow and on edge. Make sure to avoid walking home alone.

Time Out

In a deeply moving portrayal, Abbington masterfully embodies Tara, skillfully blending anger and vulnerability as her character grapples with not just helping her daughter but also dealing with the aftermath of the rape on herself. Her performance is devoid of melodrama, instead opting for an introspective and fiery approach.

She wields the grim, sarcastic tone of the play’s narrator as a protective shield. When the play pauses and moves towards a heart-wrenchingly predictable climax, she maintains that moment with raw honesty and urgency. As a woman commenting on men’s actions, she uses live theatre to create an electrifying impact.

The Stage 

Dave Fargnoli 

Powerful performances drive this UK premiere of Tawni O’Dell’s frank facts-based account of the aftermath of sexual assault”

In this production, Amanda Abbington delivers an intense, highly concentrated portrayal as narrator Tara, who was originally developed by O’Dell but renamed for this particular show. Abbington convincingly embodies a strong, self-assured mother who masks her self-doubt with a facade of superiority and relies on her quick wit to cope. However, beneath the surface, Abbington shows deep emotions brewing – primarily grief and indignation.

What’sOnStage

Alun Hood

Abbington shines with greatness. Her resilience and wit are captivating, but when faced with hardship and remorse, she seems to lose these traits. However, her emotional responses appear genuine, and her presence is both comforting and intimidating. She is the pulsating core of the series.

Esme’s portrayal of the day is equally impressive, as her hunched stance, empty gaze, and limp, drooping limbs poignantly depict the physical manifestation of a person who has all but surrendered. Her displays of anger are strikingly realistic.

Broadway World

Josh Maughan  

O’Dell’s triumphant script is only further illuminated by the play’s excellent cast.

In this rephrased version, let’s break it down:

In this paraphrase, the focus is on the efficient operation of a film production under the guidance of Director Jez Bond. His directing, enhanced by Melanie Wilson’s dynamic sound design, is smooth, thought-provoking, and precise. It’s quite intelligent, but at times it may lean towards being overly clever. Each element is carefully planned out, giving the production a near sterile feel. While it generally succeeds, there are instances where it seems to strip away essential emotion from the dialogue and fails to fully capitalize on the emotional impact that certain scenes should have.

Read More

• TOMI PREDICTION. TOMI cryptocurrency
• CANTO PREDICTION. CANTO cryptocurrency
• ZEX PREDICTION. ZEX cryptocurrency
• G PREDICTION. G cryptocurrency
• UNI PREDICTION. UNI cryptocurrency
• BLD PREDICTION. BLD cryptocurrency
• Flintlock: The Siege of Dawn system requirements for PC
• Real Housewives Of Orange County: Gina Kirschenheiter accuses Jennifer Pedranti of ‘squatting’ during heated argument after flag football game
• Dancing influencer caught at centre of ‘body shaming’ row hits back at trolls who called her a ‘whale’ and reveals the five-figure monthly sum she makes from her online content
• The biggest movie news you might have missed this week (August 5-9)

2024-08-07 22:20