Leonardo’s Ring by Eric Elice
(White Bear, 2003)
“…James Martin Charlton’s direction fluid and intelligent…” – The Stage.
Virginia Plain by Nick Garrett
(White Bear, 2003)
“Peppered with dream sequences and musical numbers, it is an impressive piece of work, helped by astute casting and the near perfect physical dressing of the characters, which bolsters the already fleshy roles. James Martin Charlton directs with pace.” – The Stage.
A Twist of Oliver adapted from Charles Dickens by James Martin Charlton
(HMP Maidstone, 2002).
“Admiration was the dominant emotion as we watched imagination run riot…Essentially A Twist of Oliver illustrated enormous effort and dedication, terrific enthusiasm and energy, and loads of potential talent on all levels. Thanks to all involved for an enjoyable experience. The church rocked to the rafters at the end as the audience burst out and shouted ‘PLEASE, GUYS, WE WANT SOME MORE!’ ” – Jonathan King, The Maidstone Insider.
Tommy by Pete Townsend & The Who
(HMP Maidstone, 2001)
“So originally directed, so inventive in the use of the space, I was full of admiration.” Koestler Awards Scheme, 2002.
“I’m forced to dig out my thesaurus to find words to review this wonderful show… A well-deserved standing ovation… spellbinding… had the audience in fits of laughter… Without doubt, this show was one of the highlights of the year.” – The Insider.
Saved by Sex by Caroline Burns Cooke
(Gilded Balloon, Edinburgh Festival 2000).
“Fast-paced and bizarre.” – Scotland on Sunday.
“A roller coaster of emotion, misunderstanding and panic… A rewarding, bleak and subtly comic experience.” – The Comedy Star.
“The show is tight and blessed with good acting.” – The Stage.
“Well-timed comic performances… Charismatic.” – The List.
“Everyone in the cast is given the opportunity to shine… Subtle comic touches… Folk won’t be disappointed… A warm welcome to the fringe.” – Scotgay.
“Consummate professionalism.” – Evening News.
Queer Dorset Bastard by Barney Ashton
(Etcetera Theatre, 2000)
“James Martin Charlton’s production [of this] fleet and modest piece effectively evokes something of the last hurrah of Great British primness and probity. Its characters think they’re forlorn in the ‘50s but , as the production’s closing strains of The Beatles predict, salvation may be only a few steps away.” – Time Out.
Gob by Jim Kenworth
(King’s Head, 1999).
“…this is a fresh and very funny piece, marvellously directed by James Martin Charlton with an acute eye for physical comedy… Two actors play all the parts with well-honed versatility.” - The Times.
“…the most memorable moments in James Martin Charlton’s inventive production are the most lyrical… Unfashionably honest, this is a storming play.” - What’s On.
“…a perky cartoon energy, punchily performed… for 70 minutes it gives you a distinct high.” - Lyn Gardner, The Guardian.
“Directed by James Martin Charlton, the production is certainly innovative.” – Metro.
Time Out Critics Choice.
What’s On Critics Choice.
Lovers and Killers by Caroline Burns Cooke & Chris Savage-King
(Etcetera Theatre, 1998).
“A triple bill of what is essentially three one-handers, each play pushes the concept of monologue in different directions, examining the themes of love and death in different ways… Rarely does writing and performance combine so eventfully.” - The Stage.
Johnny Song by Jim Kenworth
(Warehouse Theatre, 1998).
“..a curious, lively piece… Charlton’s direction keeps things moving…” The Stage.
My Mother was an Alien, Is that why I’m Gay? By Nigel Fairs
(Brighton Festival, 1998).
“Strongly professional, with outstanding comic performances.” - Brighton Focus.
Groping in the Dark by James Martin Charlton
(Warehouse Theatre / Mermaid, 1996)
“…a live-action cartoon… a feast for lovers of fast and furious theatre… energy and visual brilliance…” - What’s On.
“A picaresque piece of physical theatre… a poetical satire in the tradition of Bunyan’s Pilgrim’s Progress… plenty of fizz…” - Patrick Marmion, Time Out.
“Go and see this production. That’s the bottom line… Surreal, magical, disturbing, compelling, powerful and at times brutal, Groping in the Dark is a white-knuckle ride through man’s subconscious and society’s taboos. Riveting stuff.” - News Shopper.
The World & his Wife by James Martin Charlton
(White Bear, 1995)
“…surreal pitch-black comedy of manners… shock tactic display of fancy dress and naked bollocks… high octane performances.” - Time Out.
Amphibious Babies by Chris Ward
(White Bear, 1994).
“The acting is uniformly excellent… tightly choreographed by James Martin Charlton into violent poses, extraneous jerks and shifting chairs. The production’s intensity may discomfort the audience, because this sure ain’t Terrance Rattigan.” - What’s On.
“…a head-rush of energy… a compelling piece of work… the direction is clamorously confident.” - Time Out.
What’s On Critics Choice.
What Are Neighbours For? by James Martin Charlton
(Fallen Angel, 1985)
“A wild, rabid farce concerning two gay lovers, about to get some action, but interrupted/assaulted/insulted/ attacked continually by a manic religious campaigner, a Conservative card-carrying neighbour, his griping wife, a prostitute, a cockney mass-murderer and a brutally violent inspector. Phew!… if you like your theatre physically and visually exuberant, you’ll like it a lot.” - City Limits.
“…the 19-year-old playwright-director shows considerable craft in the structure and pace of the play, as well as giving his cast some delightful comic one-liners…” - Capitol Gay.