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An award-winning radio play, a widely acclaimed book and a much admired piece of musical theatre, KISSES ON A POSTCARD is a vivid, funny and intimate portrait of a unique part of our history and a compelling and uplifting memoir of growing up in an extraordinary time.
It did so in singular style, with wit, charm, intelligence, and great sensitivity. The trust that so obviously existed between the performers was part of what made it so strong.
Set was minimal, comprising a few blocks at the back of the mottled green and brown stage, which was interestingly lit throughout; and costume was equally basic: non-descript jeans, shorts, shirts, and t-shirts in greys and beiges. These dancing boys ranged in shape and size from the skinny and slight to the rugby prop. Characterisation and plot shifts were conveyed solely through the way the boys moved, under the inspired choreography of director Rebecca Steel and accompanied by composer Tom Recknell’s excellent score.
I urge theatre producers to head to Devon next weekend, when the show has its final performances, and to consider giving this outstanding musical the extended life it so richly deserves’. The hardback was published by Bloomsbury in September 2009 and the paperback in May 2010.
Rehearsals have begun for the new production of Kisses On A Postcard at the Queen’s Theatre, Barnstaple. It has had ninety-five-per-cent five-star reviews (read them here) and has consistently been in the Bloomsbury best-seller lists.
Ms Olliver added: "There are aggravating features, the children are very young, in obvious pain and distress, and the number of photographs distributed." Picard shut his eyes as Judge Peter Ross described some of the Category A material found in his possession.