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Brighton Festival commissioned and Shechter delivered in the searing painful work in which he clearly vents his anger at an early abandonment. The soundscape, often a jumble of disparate noise, was complex but impressively art. The dancers gave performances of a lifetime in a razor sharp sequence of movements that ranged from acute and jagged street forms to classical simplicity. The work was emotionally charged to the point of danger. Never comfortable for long he took us up, lulled us into a sense of security before plunging us deep into despair. Five separate stars too for the lighting which was the best, most effective and most dangerous that I have ever witnessed. To keep a stage so dark at times and make it work is a real skill and this was pulled off with mastery. The effect was that there were no wings and that the dancers simply materialised on stage. A brilliant collaboration and a massive coup for the Festival. A special note too for the venue, The Dome worked brilliantly on almost every level.
Brighton Dome, 14 May
5/5
Andrew Kay

This was a lovely collection of fresh minds venturing into comedy. Thirteen acts stepping onto the stage for the first time, having completed the Jill Edwards Comedy Course and successfully auditioned in front of Komedia’s wise and good. They were delightful. At a time when the new act circuit can get stuck on the same old subjects these were fresh and funny minds exploring what was genuinely funny, rather than what they thought we’d find funny. No second-guesing, just great promise for the comics of next year. I can’t wait to catch these guys next time and see where their minds have taken them next. Tight, concise and beautifully funny.
Komedia, 20 May
4/5
Victoria Nangle

Tabor is more than just a singer, she is a font of knowledge, a witty raconteur and a champion of music of all kinds. That said, it is her pure golden voice that we came to hear and we were in for a treat. Accompanied by the 1651 band Andy Cutting, Tim Harries and Mark Emerson, she gave a breathtaking performance that had the audience rapt. There was a sparsity to the set that gave clarity. Tabor, clearly in control, gives exactly the right amount of notes, not one too many or one too little. The band likewise, played with perfect restraint that opened the music in an almost intimate way. Her song choice took us on a journey, her links moved and entertained but at the end of the evening it is that extraordinary voice that we will remember in all its soaring glory.
The Corn Exchange 20 May
5/5
Andrew Kay

If Geoffrey Chaucer and Stanley Unwin were able to procreate, go with me on this, this would be the bastard progeny. I have not laughed so loud and so freely in a long time. The quality of writing, pure filth by the way, is genius. Wordcraft does not come much better than this. Nor does performance. In 70 minutes the brilliant duo pack more words in than I have ever heard before. Their characterisations are superb and their delivery is near perfect, I failed to spot one fluff from start to finish. Perhaps a little too long, it only flags in one section where the foppish squire appears. Other than that this is comedic and literary gold.
Upstairs At Three And Ten, 19 May
5/5
Andrew Kay