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March 2012
The Soap Show

Novembre 2011
La Provence

August 2011, Nice-Matin

"Je crois que le talent peut faire peur parfois! Le trop de talent, j'entends.

Or pour moi, Framboise est une des actrices les plus douées que j'ai jamais rencontrée.
Alors si ce mélange de rigueur, de folie, de tendresse et d'exigence ne vous font pas peur, vous l'aimerez autant que moi."


Cheap and Tearful
Our Theatre Company, Cafe Royal.
***** (five stars you philistine, meaning, can’t get better!)

Like a bad marriage, it is easy to find yourself in a mental institution; harder to get out, if it depends on convincing a doctor you are not only sane, but will try patching things up with the husband you threatened with a carving knife. Cargill Thompson’s Cheap and Tearful puts the husband and wife Gary (Andrew Stanson) and Lucy (Framboise Gommendy) at either ends of the Café Royal stage during visiting hour.

Utterly appealing. Utterly convincing, they share their own, separate confidences about failing marriage with the audience, looking into our eyes and encouraging, in turn, to support their side. It’s nice to be needed, but before the apparently happy ending you are move to question your own life by Gommendy’s knowing acceptance of failure and Stanson’s blinkered air of innocence; those with failing marriage themselves should avoid the show that deals so directly with the question of whether people actually live together or merely share a set of rooms, avoiding communication for fear of the hatred that might spill out.

Jane Scott, the Scotsman

Cheap and Tearful
Phil Gibby, The Stage
Exploring the breakdown of a marriage, this two-hander is a thoughtful work.
Lucy (Framboise Gommendy) is in an institution with scratch marks on her face. Husband Gary (played by the director Andrew Stanson) visits her, unable to comprehend the background to her shattered mental condition. He has been playing away with no-morals Moira, however, and when it all becomes too much for Lucy, she drops the knife with which she had proposed to take revenge and internalises her anger instead.
The making of an omelette is used here as a metaphor for the state of their relationship. It is an appropriate one for, rhetorically, writer John Cargill Thompson is a man who has never been afraid to put all his eggs in one basket.
This play, by contrast, is without such bombast. It is a carefully drawn anatomy of two people who realise that they do not understand each other as they thought they did, a play for and one which comes complete with a message for all of us.
All in all, it offers plenty of food for thought and thoroughly deserves the wider exposure it should get in London this autumn.

Jeannette Kupfermann, Daily Mail

Am I imagining it, but is Eldorado at last showing some signs of life?

There are lots of things that don’t quite figure in Eldorado. Take Isabelle, the ultimate in French drop-dead chic, dressed in floaty beige numbers (while everyone else wears turquoise), and supposedly a writer. Since it must take her all day to get her hair and get up from the massage table, when does she write?

But who can complain? She is very good looking, which makes it all the more surprising that her attempts at dangerous liaisons never seem to come to anything. I hope they’re not going to make her too “mumsy”. She could be the perfect ‘bitch” of the piece – providing us with someone to hate, especially as Marcus now seems to be reduced mainly to prowling around looking for the husky-voiced Pilar…

I have the feeling that someone started to follow my advice of a few months ago to inject a little “melodrama” into the pallid goings-on. It’s beginning to show results.

‘Hot in the City’ at the Cafe Royal
Radio Critic, FORTH FM

John Cargill Thompson’s Cheap and Tearful is a blatant, but bitterly comical look at a relationship which drives both participants to the edge of lunacy.

The confines of the Café Royal double the intensity of this already confronting piece of theatre. Brilliantly acted.

And if you like this one, John Cargill Thompson and “our Theatre Company” have nine more plays on the Fringe.

Robert Falconer