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Coming on like a cross between a colonial explorer (trademark white linen jacket and bulging brown leather satchel) and Joyce Grenfell, TV architectural historian and all round good egg, Dan Cruickshank, held court at a packed Corn Exchange. Dealing mostly with the esoterica of the capital’s late Georgian period, he certainly did little to diminish the impression of an eccentric boffin. The shame of it was that the interviewer, Steven Gale, failed to swap mics, his working perfectly, Cruickshank’s less so, and thus we were cheated out of witnessing the full effect of Cruickshank’s notable gesticulations prevalent in shows such as Around the World in 80 Treasures, he being hamstrung by a hand-held replacement mic!
Corn Exchange, Brighton Dome, 7 May
3/5
Jan Goodey

A promising idea and a promising start are sadly unrealized in this disappointing performance. Creating a drama around the physical structure of the Regency Town House is a great idea but when the plot is slight and the production values slim, the suspense of belief starts to wane all too rapidly. And despite the best efforts of the cast, I’m never prepared to believe in the premise of the play. I suspect that the later performance, after dark, might have more atmosphere but I crave better sound, maybe some music and sound to create an atmosphere and lighting to set a mood. As it is, I’m never engaged.
Regency Town House, 8 May (until 23 May)
1/5
Andrew Kay

Tim Crouch not only possessed the stage but the audience too. His tense, knife-edge performance was razor sharp, hovering between laughter and horror as his Malvolio spewed forth his story and the story of Twelfth Night, which he rapidly dismissed with more effect than any production I have seen. This was festival fare of the very highest order, compelling, thought provoking and at the same time utterly entertaining. A display of stage craft, writing and delivery that hit all the right notes. I, Malvolio was also beautifully designed and staged. I left feeling both satisfied and desperate for more.
Pavilion Theatre, Brighton Dome, 7 May
5/5
Andrew Kay

In  a programme that started with William Byrd and ended with Schubert, Richard Goode proved why he has earned his reputation as one of the greatest concert pianists in the world today. His delivery is flawless, his control of the pianissimo moments captivating and his ability to conjure from the piano a sound like a full orchestra is equally impressive. The dexterity displayed in the Byrd was almost mesmeric – I say almost as throughout I was distracted by his tendency to sing along, humming here and there and occasionally stamping his foot to the ground. Maybe this was Goode at his most involved, but I found it annoying initially until I managed to put it to the back of my mind and concentrate on the brilliance of his playing.
Glyndebourne, 9 May
3/5
Andrew Kay