REVIEWS

 

COLOUR RADIO - Edinburgh Festival, 1979 (Fringe First), Director and contributing writer

 

‘Intelligent, acute, observant, coruscating wit, incredibly funny.’  (The Edinburgh Festival Times)

 

THE FATHERLAND - Bush Theatre at Riverside Studios Jan, 1989, Written by Murray Watts and directed by Brian Stirner

 

‘When you hear of a play written by a white man about a family living in Soweto, there are bound to be misgivings.  Murray Watts’ Fatherland is, however, utterly convincing. In its mixture of tragedy and comedy, its poetry and political commitment, it is reminiscent of Sean O’Casey.’ (The Guardian)

 

‘A moving and ambitious drama by Murray Watts…There are several moments when, as in the finest Chekhov productions, one finds oneself laughing at the characters in a haze of sympathetic tears…This fine play….’ (The Daily Telegraph)

THE MIRACLE MAKER - S4C/BBC/ICON, 2000, Screenwriter

 

[The Miracle Maker, at one time the world’s largest animation project, was five years in the making.  On the strength of the screenplay by Murray Watts, British Screen decided to fund the project and an international cast of stars was assembled, including Ralph Fiennes, William Hurt, Julie Christie, Richard E Grant, Miranda Richardson and Ian Holm.  The film opened nationwide in the UK on March 31st 2000 to critical acclaim… it was the prime time movie for Easter Day 2000 on ABC in the US, and was the top-rated film on the US network.  The film was rapturously received by the American critics and public and won the Movieguide Award for the most inspirational movie on US TV in 2000.  It received its second US prime time transmission on Easter Day 2001 and its first on the UK on BBC 1, Good Friday 2001.  The film continues to be shown in many languages around the world.]

‘A truly memorable film…’ adapted by Murray Watts with admirable clarity and freshness.’  ****  (The Sunday Times)

  

‘Murray Watts’s script is an admirable combination of simplicity and detail… doing justice to the religious, racial and social context…. Compelling.’  (Time Out)

 

‘One of the most powerful renditions of the Christ story you’re likely to see… the script by Murray Watts is sharp and unpreachy… an Easter treat.’ **** (Metro)

 

‘One of the most entrancing pieces of story telling I have seen in ages… beautifully crafted… miraculous…’ (The Times)

  

‘The thoughtful script finds a new way of presenting the story of Christ… destined to become a classic.’ *****  (Daily Mail)

  

‘Glorious… surprisingly poetic and lifelike… Murray Watts’ elegant script….’ (Variety)

HAPPINESS - Edinburgh Playhouse at the Fringe  2011/King’s Head London, 2012, Written and directed by Murray Watts

  

‘The audience were gripped…strong…gritty…thought-provoking and smart.’ **** (Three Weeks)

  

‘Sad, funny… strangely hopeful… brilliant… outstanding acting and directing… a theatrical tour de force’ (Sally Magnusson, writer and BBC broadcaster)

 

 

MR DARWIN'S TREE - Edinburgh Playhouse at the Fringe 2011 / King's Head London 2012 / UK Tour 2013-15, Us Tours 2016 and 2019, Writer and Director

 

‘Murray Watts skilfully weaves passages of description so rich that images rapidly materialise in our imagination….an elegantly conceived, clever and highly informative performance (from Andrew Harrison), overflowing with gentle humour and charm.’ ***** (Three Weeks)

 

‘Watts must be applauded for his writing: it is accessible, informative and entertaining… the script has great depth… this touching portrayal of a man at the front line of science is a rare treat.’ **** (Broadway Baby)

 

 

FIRST LIGHT - Edinburgh Playhouse at the Fringe  2011/King’s Head London, 2012, Written and directed by Murray Watts

  

‘Performances which astonish…. Natalie Burt is electrifying… First Light will remain with audiences long after they leave the theatre.' **** (Edinburgh Spotlight)

 

 

THE KISS - Oran Mor, Gasgow, 2011, Written by Murray Watts and directed by Sasha Kyle

  

‘A poetic, moving, meditative examination of memory that contains echoes of Waiting for Godot in its sense of limbo-like endless repetition…. Two quite wonderful performances by Andrew Harrison and Anne Kidd.’ **** (The Herald)

  

‘Sometimes memories return to this couple so vividly that both are almost persuaded of a shared past life; often they barely recognise one another at all.  All of this is beautifully and subtly recreated in Watts’ text…. bold and powerful… two memorable performances from Anne Kidd and Andrew Harrison.’ **** (The Scotsman)


 

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